A 


'f 


CATALOGUE 


OF 


ITALIAN,  FLEMISH,  SPANISH,  DUTCH,  FRENCH^ 

AND  ENGLISH 

WHICH  HAVE  BEEN  COLLECTED  IN  EUROPE  AND  BROUGHT  TQ 

THIS  COUNTRY  BY 

MR^  RICHARD  ABRAHAM^ 

Of  New  Bond  Street^  Londoriy 

AND  ARE 

AT  THE 

^wettcan  ^catreiiig  of  .iFCne  Erto* 


3)EW  YORK; 

PRINTED  BY  CHRISTIAN  BROWN, 
211  WATER  STREET. 


1830. 


THIS  collection  will  be  found  to  contain  some  of  the  choicest  specimens  of 
the  Masters  in  their  various  Schools,  and  in  the  finest  state  of  preservation^ 
Also,  two  splendid  Pictures — one  of  which  is  the  Portrait  of  the  late  Mr« 
West,  by  Sir  Thomas  Lawrence,  which  has  been  permitted  to  remain  in  the 
room  by  the  Directors  of  the  Aeademy.  to  enrich  ihis  exhibition — the  other 
is  St.  John  in  the  Island  of  Patinos,  by  Ribera,  and  is  lent  from  the  collection 
of  D.  W,  Coit.  Esq.  The  whole  forming  an  asscmWage  worthy  of  notice. 


CATALOGUE, 


No.  1,  THE  INTERIOR  OF  A CHURCH, 

BY  PETER  NEEFS. 

Born  at  Antwerp,  A.  D.  1570 — Died  A.  D,  — , aged  - • 

This  artist  was  a scholar  of  Henry  Steenwyck  the  elder.  He 
painted  similar  subjects  to  those  of  his  master,  in  which  he  ac- 
quired much  celebrity,  representing  the  interior  of  Churches  and 
Temples,  which  he  finished  with  a precision  and  neatness  of  pen- 
cil that  is  altogether  surprising.  His  knowledge  of  perspective 
was  so  correct,  that  he  would  exhibit  in  the  small  space  of  a Cab- 
inet picture,  the  most  vast  and  magnificent  gothic  edifices,  in  * 
which  the  beholder  is  deluded  into  a belief  of  the  Teality  and  im- 
mensity of  the  space  the  building  represents. 

DESCRIPTION. 

This  little  picture  which  represents  the  interior  of  a Church,  is 
painted  with  all  the  excellence  that  characterizes  this  ingenious 
Master.  The  architecture  and  the  various  decorations  of  the 
Church  are  designed  with  the  utmost  correctness,  touched  with 
a delicacy  that  is  inimitable ; and  by  judicious  management  of 
the  chiar-oscuro  he  has  produced  a most  lively  and  pleasing  effect. 
Neefs  did  not  paint  figures  with  that  neatness  that  might  be  ex- 
pected ; he  therefore  obtained  other  artists  to  introduce  them  for 
him,  and  this  specimen  is  enriched  by  Gonzarlez’s  figures,  who 
has  no  less  shown  his  talents  in  that  branch  of  the  art,  than  Neefs 
has  in  his.  The  grouping  and  distribution  of  the  numerous  fig- 


4 


ures  are  most  admirably  mar^aged : they  possess  the  breadtli, 
freedom  of  touch,  and  animated  character  of  the  portraits  of  Van 
Dyck,  and  are  designed  with  the  utmost  correctness,  the  colour- 
ing has  the  freshness,  and  the  drapery  the  ease  that  is  so  admira- 
ble in  that  master*  On  viewing  these  inimitable  figures,  the  mi- 
nute scale  on  which  they  are  drawn  is  lost  sight  of  by  their  as- 
suming the  size  of  life. 

This  little  gem  was  purchased  by  Mr.  Abraham  several  years 
ago,  for  his  private  use,  but  from  what  collection  he  does  not 
remember. 


2.  A GRAND  LANDSCAPE. 

JACOB  RUYSDAEL. 

Born  at  Haerlem  A.  D.  1636 — Died  A.D.  1681,  aged  45. 

It  is  not  known  under  whom  this  admirable  landscape  painter  ' 
studied,  but  Houbraken  informs  us  that,  although  he  had  given  - 
proof  of  extraordinary  ability,  at  the  early  age  of  fourteen,  he  did 
not  at  first  follow  painting  as  a profession,  but  for  some  years 
applied  himself  to  the  study  and  practice  of  surgery.  He  after- 
wards lived  in  habits  of  intimacy  with  Nicholas  Berghem  and  he 
is  said  to  have  been  advised,  by  that  artist  to  devote  his  attention 
entirely  to  painting.  His  success  warranted  the  recommenda- 
tion of  his  friend,  his  pictures  w ere  purchased  w ith  a\ddity,  and 
he  soon  became  one  of  the  most  popular  painters  of  his  time.  In 
the  pictures  of  Ruysdael  it  is  evident  that  he  designed  every  thing 
from  Nature,  and  he  is  unusally  happy  in  the  selection  of  it.  His 
trees  and  broken  grounds  are  of  the  most  pleasing  forms,  and 
there  is  an  agreeable  freshness  in  his  verdure  which  is  alone  pe- 
culiar to  himself. 

The  talents  of  Ruysdael  were  not  confined  to  Landscapes ; he 
painted  sea-pieces  with  equal  success ; and  his  pictures  of  fresh 
breezes  and  gales  of  wind  are  equal  to  the  production  of  any  art- 
ist who  has  treated  those  subjects.  The  pictures  of  this  captivat- 


5 


iiig  painter  are  justly  held  in  the  highest  estimatian,  and  are  found 
in  the  choicest  collections, 

DESCRIPTION. 

^ J . , 

This  grand  Landscape  exhibits  an  extensive  view  over  a flat 
country,  illumined  by  a transient  gleam  of  sunshine,  beautifully 
varied  with  woods,  meadows,  and  corn-fields,  and  interspersed 
with  churches,  cottages,  and  a windmill.  The  ruins  of  an  ancient 
fortification  with  a surrounding  moat  bordered  with  bushy  trees, 
occupy  the  whole  extent  of  the  fore  ground.  On  a bastion  on  the 
right,  are  a shepherd  seated,  a boy  with  a dog,  and  three  sheep 
near  him ; a few  more  sheep  are  seen  on  the  opposite  bastion,  and 
a man  standing  in  a breach.  This  is  one  of  the  finest  productions 
of  this  Master ; the  touch  is  remarkably  free  and  spirited,  the  coir 
curing  chaste  and  clear,  and  the  masses  of  light  and  shadow  are 
conducted  with  a masterly  intelligence.  The  cattle  and  figures 
are  painted  by  Adrian  Vander  Velde. 

This  picture  was  formerly  in  the  collection  of  the  Marquis  of 
Marialva  from  whom  it  passed  to  John  Smith,  Esq.  of  London, 
and  was  purchased  by  Mr.  Abraham  at  the  sale  of  that  gentle- 
man’s collection. 


3.  THE  VIRGIN  OF  THE  ROCKS. 

MONARDO  DA  VINCI. 

Born  at  Florence,  A.  D.  1452,  died  A.  D.  1519,  ag:ed  67* 

This  illustrious  painter,  according  to  Vasari,  Carlo  Araoretti, 
and  others,  received  a technical  education,  and  was  placed  under 
Andrea  Verocchio,  a friend  of  bis  father,  who  was  an  eminent 
master  of  design,  and  possessed  a distinguished  reputation  as  a 
sculptor,  an  architect  and  a painter.  The  extraordinary  facul- 
ties of  the  pupil,”  says  Vasari,  secured  the  attentive  cultivation 
of  the  preceptor,  and  his  progress  in  the  art  was  such,  that  in  a 
short  time  he  was  able  to  assist  his  instructor  as  a coadjutor.” 


6 


Verocchio  having  been  employed  by  the  monks  of  St.  Salvi  at 
Valombrosa,  to  paint  an  altar-piece  for  their  church,  representing 
the  baptism  of  Christ,  Lionardo  was  entrusted  to  paint  the  figure 
of  an  angel,  and  performed  his  task  with  such  beauty  and  cor- 
rectness of  design,  and  such  felicity  of  execution,  that  the  rest  of 
the  picture  was  totally  eclipsed,  and  tradition  reports  that  Ve- 
tocchio  was  so  much  mortified  at  the  discomfiture  that  he  relin- 
quished the  pencil  for  ever. 

Lionardo  now  entered  the  world  with  the  sanguine  expecta- 
tions of  youth,  beloved  for  the  grace  and  urbanity  of  his  manners, 
and  beheld  with  admiration  for  the  extent  and  variety  of  his  ac- 
quirements. His  studies  had  not  been  confined  to  painting.— 
He  was  an  able  architect,  had  a perfect  knowledge  of  anatomy, 
was  extremely  well  skilled  in  mechanics,  a master  of  optics  and 
geometry,  and  had  applied  himself  thoroughly  to  the  study  of 
nature  and  her  operations.  To  arts  and  literature  he  added  the 
accomplishments  of  the  body.  His  person  was  vigorous  and 
finely  formed;  he  was  a poet,  a skilful  musician,  and  a master  of 
all  the  favourite  exercises.  He  understood  the  management  of 
the  horse,  and  was  very  dexterous  in  the  use  of  arms.  The  pos- 
session of  such  extraordinary  qualities  soon  spread  his  reputation 
mer  all  Italy.” 

After  painting  some  time  at  Florence,  Lodovico  Sforza,  Duke 
«f  Milan,  invited  him  to  his  court  in  1494,  where  he  appointed 
him  director  of  the  academy  of  painting  and  architecture,  which 
he  had  recently  revived  with  additional  splendor  and  encourage- 
ment. Lionardo  had  no  sooner,  according  to  Amorette,  entered 
on  his  office,  than  he  banished  all  the  gothic  principles  estab- 
lished by  his  predecessor  Michelino,  and  introduced  the  beautiful 
simplicity  and  purity  of  the  Grecian  and  Roman  style. 

Desirous  of  rendering  the  extensive  capacity  of  Lionardo  use- 
ful as  well  as  ornamental  to  his  state,  the  Duke  of  Milan  engaged 
this  distinguished  engineer  in  the  stupenduous  project  of  conduct- 
ing the  waters  of  the  Adda,  from  Mortesana,  through  the  Valte- 
line  and  the  valley  of  Chiavenna,  to  the  walls  of  Milan,  a distance 


7 


of  nearly  two  hundred  miles ; an  enterprise  which  had  hitherto 
been  regarded  as  impracticable.  Lionardo  was  not  insensible  of 
the  arduousness  of  such  an  undertaking,  and,  in  order  to  pursue, 
with  greater  tranquility,  his  studies  of  those  branches  of  philoso- 
phy and  mathematics  which  are  most  applicable  to  mechanics,  be 
sought  retirement  at  Vaverola,  the  seat  of  his  friend  Francesco 
Melzi,  where  he  devoted  himself  to  the  most  profound  research 
into  history  and  antiquity. 

He  observed  how  the  Ptolemys  had  conveyed  the  waters  of 
the  Nile  through  the  several  parts  of  Egypt,  and  how  Trajan 
had  opened  a commerce  with  Nicodemia,  by  rendering  navigable 
the  lakes  and  rivers  lying  between  that  city  and  the  sea.  The 
impediments  of  nature  gave  way  to  the  daring  efforts  of  genius 
and  science,  and  he  accomplished  this  immense  work,  to  the 
astonishment  and  admiration  of  all  Italy.” 

In  1503,  the  Council  at  Florence,  where  Lionardo  then  was, 
leaving  determined  to  decorate  their  chamber  with  the  works  of 
the  best  masters,  Lionardo  was  appointed  to  execute  one  side  of 
it,  and  Michael  Angelo  Buonaroti,  who  was  then  in  his  twenty- 
ninth,  year,  and  whose  gigantic  powers  had  already  displayed 
themselves,  was  fixed  on  as  his  competitor,  in  undertaking  the 
other.  Jealousy  of  each  other’s  ability,  excited  anomisity  be- 
tween them,  and  the  rivalry  of  these  great  artists  divided  Florence 
into  parties,  who  embittered  their  disputes,  without  endeavouring 
to  reconcile  their  differences. 

Raffaelle,  who  had  recently  left  the  school  of  Pietro  Perugino, 
was  induced,  by  the  fame  of  this  great  contest  of  their  transcend- 
ant  powers,  to  visit  Florence.  ‘‘  The  grace  and  delicacy  of 
Lionardo’s  style,”  sa3^s  Bryan,  compared  with  the  dry  and 
gothic  manner  of  Perugino,  excited  the  admiration  of  the  young 
painter,  and  inspired  him  with  a more  modern  taste. 

As  a painter,  Lionardo  may  be  regarded  as  the  first  who  at^ 
tempted  to  reconcile  minute  and  elaborate  finish  with  grandeur 
of  idea  and  dignity  of  form.  He  particularly  attached  himself 
to  the  expression  of  character,  and  the  juet  delineation  of  the 
affections  of  the  mind. 


8 


In  his  compbsitions,  like  the  painters  of  antiquity,  he  was  an 
enemy  to  confusion,  and  to  avoid  it  like  them  he  only  introduced 
into  his  pictures  such  figures  as  were  essentially  necessary  to  his 
subject*  Although  it  does  not  appear  that  he  ever  sedulously 
cultivated  an  acquaintance  with  the  antique,  he  distinguished  him- 
self by  an  elevated  taste,  and  a perfectly  correct  imitation  of  the 
models  he  consulted*  To  him  we  are  chiefly  indebted  for  the 
establishment  of  the  principles  of  the  chiar-oscuro,  which  gave 
birth  to  that  magical  relief,  for  which  his  works,  and  those  of 
his  disciples  are  so  peculiarly  remarkable.” 

In  1514  he  was  invited  by  Francis  I.  to  visit  the  court  of 
France;  he  was  received  by  that  monarch  with  the  most  flat- 
tering attentions ; he  was  however  incapable  of  undertaking  any 
work  of  importance  in  consquence  of  indisposition  which  lasted 
five  years,  during  which  time  he  continued  to  receive  the  most 
marked  attention  of  that  monarch’s  esteem,  who  frequently  visited 
him  during  his  illness,  and  he  is  said  to  have  expired  in  his  arms* 

DESCRIPTION* 

This  magnificent  work  of  art,  known  by  the  name  of  the 
Virgin  of  the  Rocks,”  is  one  of  the  three  pictures  of  the  same 
subject  by  the  celebrated  Lionardo ; one  is  in  the  Gallery  of  the 
Louvre,  the  second  is  in  the  possession  of  Lord  Suffolk,  and  the 
third  is  now  submitted  to  the  American  Public*  In  the  centre  of 
the  picture  is  the  Virgin  Mary,  on  her  left  hand  is  the  infant 
Saviour  attended  by  an  angel,  on  her  right  is  St*  John  resting  oh 
ene  knee  and  with  uplifted  hands  bending  towards  the  Saviour* 
This  scene  derives  a grandeur  and  solemnity  from  a seques- 
trated rocky  situation  which  the  artist  has  chosen,  and  which  is 
so  admirably  suited  to  the  subject*  Da  Vinci  has  in  this  pain- 
ting brought  every  excellence  in  the  art  to  assist  in  portraying 
his  sublime  and  heavenly  conceptions* 

In  the  face  and  figure  of  the  Virgin  there  is  a charm  truly 
irresistible.  Dignity,  grace,  and  feminine  loveliness  cannot  fail 
to  strike  the  most  casual  observer*  The  figure  of  the  infant  Je- 


9 


sus  is  a truly  lovely  conception,  uniting  with  the  most  graceful 
ease  that  intelligence,  which  may  well  be  supposed,  adorned  the 
Godlike  child.  The  expression  of  fond  adoration  and  humility 
in  St.  John  towards  his  heavenly  master,  is  perfect;  the  celes- 
tial air  which  pervades  the  whole  composition  is  judiciously  and 
forcibly  completed  by  the  introduction  of  the  angel.  From  such 
an  effort  of  art,  it  is  easy  to  comprehend  the  grandeur  and  sub- 
limity of  the  man’s  imagination  who  feared  to  trust  his  pencil  in 
the  completion  of  his  greatest  work,  “ The  last  supper,”  and 
died  leaving  it  unfinished. 

It  is  presumed  that  too  much  cannot  be  said  upon  so  magni- 
ficent a picture  painted  by  such  an  illustrious  artist ; it  has  been 
thought,  therefore,  not  out  of  place  to  introduce  in  this  catalogue 
one  of  the  several  critiques  which  have  been  written  upon  this 
picture,  by  men  of  acknowledged  taste  and  judgment. 

1 he  following  is  from  the  London  Review  of  28th  June  1828, 
PAINTING  OF  LIONARDO  DA  VINCI. 

• There  is  a very  beautiful  picture  by  Lionardo  da  Vinci,  in 
the  possession  of  a gentleman  at  No.  131  New  Bond-street,  that 
has  excited  the  most  enthusiastic  admiration  of  all  who  have  been 
fortunate  enough  to  see  it.  The  subject  of  the  picture  is  ‘‘  The 
Virgin  of  the  Rocks.”  There  are  two  well  known  paintings  on 
the  same  subject,  and  by  the  same  master ; the  one  in  the  gallery 
of  the  Louvre,  and  the  other  in  the  possession  of  Lord  Suffolk ; 
but  the  three  pictures,  though  resembling  each  other  considerably 
in  the  composition  and  mode  of  treatment,  have  each  certain  tri- 
fling peculiarities  that  prove  they  are  neither  of  them  slavish  re- 
petitions. Of  the  originality  of  the  picture  in  Bond-stre^,  no 
person  at  all  acquainted  witli  the  style  of  Lionardo  da  Vinci, 
could  entertain  a moment’s  doubt. 

In  the  centre  of  the  picture  is  the  figure  of  the  Virgin.  There 
is  a divine  gentleness  and  grace  in  her  expression,  that  cannot  be 
described.  To  the  right  is  the  infant  Saviour  attended  by  an  an- 
gel, whose  form  is  aerial  and  divine.  The  holy  child  is  a won- 
derful conception.  It  has  the  meekness,  the  simplicity,  the  in- 
nocence of  an  infant,  iinited  in  an  extraordinary  manner  to  tb« 

2 


10 


intelligence  of  a god.  The  attitude  and  expression  of  St.  John 
are  not  less  beautiful.  His  little  folded  hands,  his  earnest  re- 
verential air,  his  love,  humility,  and  adoration,  are  full  of  truth 
and  interest.  The  scene  that  is  hallowed  by  this  celestial  group 
is  admirably  appropriate.  The  solemn  surrounding  rocks  seem 
formed  for  the  echoes  of  unearthly  sounds.  The  colouring  of 
the  picture  is  in  keeping  with  the  subject : it  is  chaste,  clear, 
and  harmonious. 

This  splendid  work  of  art  was  ptirchased  by  Thomas  Em- 
merson,  Esq.  from  a gentleman  in  whose  family  it  had  been  for 
upwards  of  a century,  and  Mr.  Abraham  purchased  it,  together 
with  the  Adrian  Van  de  Velde  Our  Saviour  in  the  garden,” 
from  Mr.  Emmerson  in  1826. 


4.  A PORTRAIT. 

DON  DIEGO  VELASQUEZ, 

Born  at  Seville  A.  D.  1594.  died  A.  D.  1660,  aged  66. 

This  distinguished  painter  of  the  Spanish  school  studied  under 
Francesco  Herrera  the  elder,  a painter  of  considerable  talents; 
subsequently  he  entered  the  school  of  Francisco  Pacheco  under 
whom  he  displayed  great  talents.  In  1622  Velasquez  left  Se- 
ville for  Spain,  where  he  succeeded  in  obtaining  an  introduction 
to  the  king,  Philip  the  4th,  who  ordered  him  apartments  in  the 
palace,  and  requested  his  portrait  might  be  painted  w hich  the  artist 
did,  and  it  is  said,  succeeded  beyond  his  most  sanguine  expecta- 
tioflfe;  and  the  cognoscenti  joined  in  giving  the  palm  to  Velas- 
quez above  all  his  predecessors.  ‘‘  So  complete”  adds  Bryau 
“ was  his  triumph,  that  Olivarez,  the  king’s  favorite  minister, 
was  directed  to  inform  his  inmate,  that  the  Roj  al  person  of  Phi- 
lip would  in  future  be  intrusted  to  no  other  pencil  but  his.”  In 
the  year  1648  the  king  entrusted  him  with  a particular  embassy 
to  Pope  Innocent  X,  and  also  commissioned  him  to  purchase 
the  finest  works  of  art,  both  statutes  and  pictures,  which  he 
could  meet  with  in  Italy,  for  the  Royal  collection.  On  this  ex- 


11 


pedition  he  embarked  at  Malaga,  and  having  landed  at  Genoa, 
he  passed  through  Milan,  Padua,  and  from  thence  to  Venice, 
where  he  passed  some  time  in  reviving  his  acquiantance  with 
the  admirable  productions  of  Titian,  Tintoretto,  and  Paolo  Ve- 
ronese, and  had  the  good  fortune  to  purchase  some  capital  pic- 
tures by  the  Venetian  masters.  On  his  arrival  at  Rome  he  was 
received  with  great  favour  and  distinction  by  the  Pope,  and,  as 
the  business  confided  to  him  afforded  him  leisure  to  exercise  his 
professional  talents,  he  was  engaged  to  paint  the  portrait  of 
Innocent  X,  and  those  of  several  of  his  cardinals,  and  the  nobi- 
bility  of  Rome.  The  pontiff,  in  token  of  his  satisfaction,  pre- 
sented him  with  a gold  medal.  The  Academicians  of  Rome 
elected  him  of  their  body,  and  sent  his  diploma  after  him  to  Spain.^ 

DESCRIPTION. 

This  splendid  picture  is  supposed  to  be  the  portrait  of  one  of 
the  Secretaries  to  Pope  Innocent  X.  The  penetrating  eye,  a[nd 
shrewd  intelligent  character  of  the  countenance,  are  painted^o 
life  ^ on  the  middle  finger  of  the  left  hand  he  supports  his  cap, 
while  his  right  hand  rests  by  the  thumb  in  the  black  vestment 
which  is  suspended  from  his  left  shoulder.  The  flesh  exhibits 
in  its  tints,  the  delicacy  and  harmony  of  Titian,  and  the  masterly 
manner  in  which  the  hands  are  drawn,  cannot  fail  to  excite  the 
admiration  of  every  beholder.  This  picture  is  a fine  display 
of  this  great  painter’s  knowledge  of  the  principles  of  chiar- 
oscuro ; the  splendour  of  the  colouring  and  correctness  of  draw- 
ing was  never  surpassed  by  any  master,  and  it  may  be  regarded 
as  a perfect  model  of  Portrait  painting. 


5.  THE  HOLY  FAMILY. 

ANDREA  DEL  S|ARTO. 

Born  at  Florence,  A.  D,  143B — died  1530,  aged  42. 

This  celebrated  painter  at  an  early  age  was  placed  with  an  En- 
graver to  learq.  that  business*  In  this  situation  he  was  noticed 


by  Giovanni  Barile,  an  artist  of  little  note,  under  whom  be  re*- 
mained  for  some  time ; and  afterwards  entered  the  school  of  Pie- 
tro di  Cosimo.  He  was,  however,  more  indebted  for  the  culti- 
vation of  his  talents  to  his  studies  from  the  frescoes  of  Masaccio 
and  II  Ghirlandajo,  and  subsequently  to  the  cartoons  of  Lion- 
ardo  da  Vinci  and  Michael  Angelo  Buonaroti,  than  the  lessons 
of  his  instructors.  On  leaving  the  school  of  Cosimo,  he  formed 
an  intimacy  with  Francesco  Bigio  who  had  been  a disciple  of 
Mariotto  Albertinelli,  in  conjunction  with  whom,  it  is  said,  he 
executed  some  works  in  the  public  places  at  Florence,  by  which 
he  acquired  considerable  reputation.  Lanzi  observes,  that  his 
advancement  in  the  art,  and  his  progress  from  one  perfection  to 
another,  w as  not  so  rapid  as  that  of  many  other  artists,  but  was 
gradual  and  slow  from  year  to  year. 

Del  Sarto  possessed  an  extraordinary  talent  of  imitating  and 
copying  the  works  of  other  masters,  with  an  accuracy  which 
sometimes  deceived  even  the  painters  themselves;  of  this  Vasari 
mentions  a very  remarkable  instance  of  which  he  was  himself  an 
eye  witness. 

Raffaelle  had  painted  for  the  Cardinal  Giiilio  de  Medici,  af- 
terwards Clement  VIL,  the  portrait  of  Leo  X.  seated  between 
jhat  prelate  and  Cardinal  Rossi,  in  which  the  drapery  and  back- 
ground M^ere  painted  by  Guilio  Romano.  Frederick  II.  Duke 
pf  Mantua,  passing  through  Florence  to  Rome,  had  seen  this 
picture,  and  requested  Clement  VII.  to  make  him  a present  of 
it,  when  the  Pope  gave  directions  to  Ottavio  de  Medici  to  send 
the  portrait  to  M antua. 

Unwilling  to  deprive  Florence  of  so  interesting  a work  of  art, 
Ottavio  employed  Andrea  del  Sarto  to  paint  an  exact  copy  of  it, 
which  was  sent  to  the  Duke  of  Mantua,  at  the  time  that  Giulio 
Romano  was  in  his  service.  No  person  suspected  the  deception ; 
even  Giulio  was  himself  deceived,  and  was  only  convinced  of  the 
fact,  by  Vasari  assuring  him  that  he  had  seen  it  painted,  and  by 
l^howing  him  the  private  mark  of  Andrea  del  Sarto. 


13 


DESCRIPTION. 

This  exquisite  cabinet  picture  affords  sample  pfoof  of  the  great 
talents  of  Del  Sarto,  iinitating  the  works  of  the  illustrious  Raf- 
faelle ; for  it  is  precisely  in  the  latter  style  and  manner  of  that 
master;  and  has  been  cQnsidered  by  many  good  judges  to  be  by 
that  artist,  but  on  a more  critical  exammation  the  handling  of 
Del  Sarto  will  appear  evident  in  the  face  of  Elizabeth. 

The  subject  represents  the  Holy  F amily.  The  infantile  and 
divine  expression  of  the  Saviour,  who  is  seated  on  the  knee  of 
the  Virgin  is  peculiarly  attractive  ; the  air  and  grace  of  the  Vir- 
gin and  the  beauty  of  her  countenance,  are  finely  contrasted  with 
the  more  marked  character  and  general  contour  of  the  aged 
Elizabeth,  who  is  sitting  next  to  her,  supporting  the  right  arm  of 
Christ.  The  young  harbinger  of  glad  tidings,  dressed  in  his 
coat  of  camels’  hair,  rests  on  his  right  knee  and  supports  himself 
by  the  left  hand  with  his  reed  cross,  to  which  the  Saviour  points. 
The  expression  of  St.  John  is  full  of  earnest  reverence. 

St.  Joseph  is  seen  on  the  left  of  the  picture — the  back  ground 
is  in  perfect  accordance  with  the  suavity  of  character  and  expres- 
sion which  pervades  the  figures — the  group  is  full  of  grace — the 
draperies  are  judiciously  varied,  and  the  colouring  is  most  chaste 
and  ricli.  This  little  picture  truly  represents  innocence  and  hap- 
piness. 

[From  the  collection  of  the  late  Richard  I.  D.  Ashworth,  Esq. 
af  England.] 


6.  THE  MARRIAGE  OF  ST.  CATHERINE. 

BERNARDINO 

Born  nt  Luini,  A.  D.  148O-.pi(0d  1550,  aged  7Q. 

This  eminent  artist  was  a disciple  of  Lionardo  da  Vinci,  of 
\j;dipse  style  he  was  the  most  celebrated  imitator.  It  is  impossi- 
ble for  one  artist  to  approach  nearer  to  the  style  of  another  than 
Luini  does  to  that  of  Da  Vinci ; the  same  taste  in  his  composi- 


14 


tions  and  design,  the  same  peculiarity  and  beauty  of  color  and 
extraordinary  relief ; and  it  requires  an  intimate  acquaintance 
with  the  works  of  Lionardo,  to  discriminate  between  them.  This 
collection  will  afford  that  opportunity  to  lovers  of  art,  to  dis- 
tinguish the  two  masters ; as  it  contains  a noble  specimen  of  da 
Vinci,  as  well  as  this  beautiful  cabinet  picture  of  Luini. 

DESCRIPTION. 

This  splendid  little  picture  represents  the  mystical  marriage  of 
St.  Catherine,  which  has  been  a favourite  subject  of  the  painters 
and  their  employers.  To  the  first  it  afforded  materials  for  an 
agreeable  combination  of  the  graces*;  while  the  latter  not  unfre- 
quently  encouraged  the  legendary  tale,  as  tending  to  excite  in  the 
unpractised  bosom  of  a daughter,  where  the  family  were  numer- 
ous, a desire  to  embrace  the  seclusion  of  a cloister.  At  the  first 
glance,  it  might  be  imagined  that,  through  inadvertence,  the  pain- 
ter suffered  the  ring  to  be  placed  on  a finger  of  the  right  hand  of 
the  bride ; but  the  biographer  of  the  saint  (Antonino)  asserts  the 
ceremony  to  have  thus  occurred  : The  finger  and  the  ring  are 
preserved  in  the  church  of  St.  Catherine  in  the  Strada  Guilia  of 
Rome,  and  are  carried  in  procession  annually  on  the  2d  day  of 
May.  The  Saint  was  a native  of  Siena ; she  suffered  martyr- 
dom A.  D.  1830,  in  the  thirty-third  year  of  her  age.” 

The  most  perfect  grace  and  beauty  is  expressed  in  the  face  of 
St.  Catherine,  while  with  virtuous  softness  she  gazes  on  the  in- 
fant bridegroom,  who  is  about  placing  the  ring  on  her  finger ; 
the  virgin  mother,  who  supports  the  Saviour  and  completes  the 
group,  possesses  all  the  unobtrusive  dignity  which  characterized 
her  life. 

The  colouring  and  the  castings  of  the  draperies  are  little  infe-' 
rior  to  Da  Vinci.  The  whole  possesses  a harmony  and  sweet- 
ness which  cannot  fail  to  attract  the  admirers  of  sacred  history. 

[From  the  collection  of  the  late  Richard  I.  D.  Ashworth,  Esq. 
<>f  England.} 


IS 


7.  A SEA-PORT. 

JOHN  IiIN«^ELBACH. 

Born  at  Frankfort,  A.  D.  1625,  died  A.  D.  1687,  aged  62. 

According  to  Bryan,  this  eminent  painter  visited  Amsterdam 
when  very  young,  and  in  1642,  at  the  age  of  17,  he  visited  Paris. 
A residence  of  two  years  in  that  city,  where  his  works  met  with 
admirers,  supplied  him  with  means  of  prosecuting  his  original 
project  of  visiting  Italy.  He  passed  six  years  in  Rome ; in  1650 
he  returned  to  Amsterdam  with  the  studies  he  had  accumulated 
during  his  residence  in  Italy.  ‘‘  His  works,”  he  adds,  “ frequently 
represent  Italian  sea-ports,  in  which  he  introduced  an  infinite 
number  of  figures,  habited  according  to  their  different  nations, 
touched  with  great  spirit,  and  of  a character  as  expressive  as  va- 
ried; he  also  embellished  his  pictures  with  architecture,  and  the 
ruins  of  ancient  monuments  and  statues,  he  introduced  with  the 
happiest  effect.” 

DESCRIPTION. 

This  Picture  corresponds  in  every  respect  with  Bryan’s  opin- 
ion of  this  great  painter.  It  represents  a Seaport  in  the  Levant, 
with  the  remains  of  an  ancient  triumphal  arch ; on  the  quay, 
which  forms  the  foreground,  are  numerous  figures  in  their  various 
costumes  and  busied  in  various  occupations ; vessels  and  boats 
within  the  harbour  and  in  the  offing : among  the  group  are  Turk- 
ish merchants  bartering  and  superintending  slaves,  and  labourers 
loading  a mule  with  bales  of  merchandize,  while  others  are  lading 
boats  to  transport  the  merchandize  to  the  vessels  anchored  in  the 
harbour  ; on  the  right  is  seen  a negro  on  a camel  descending  a 
hill  leading  to  the  shore,  where  another  group  of  figures  surround 
and  are  drinking  at  a fountain. 

This  is  a most  highly  finished  picture ; the  sky  and  distances 
are  treated  with  a strict  attention  to  nature ; the  colouring  is  clear 
and  harmonious,  and  is  considered  the  chef  d’ oeuvre  of  this  artist, 

It  was  formerly  in  the  collection  of  Mr.  Eycoot,  and  recently 
from  the  collection  of  M.  M.  Zachary,  of  England. 


IB 


8.  A LANDSCAPE  AND  CATTLE. 

KAREL  DU  JARDYN. 

Born  at  Amsterdam,  A.  D.  1640— Died  A,D.  167«,  aged  38. 

This  chahning  painter  \Vas  a disciple  of  Nicholas  Berghem. 
With  the  advantage  of  such  ah  instructor,  his  progress  was  ex- 
traordinary, and  to  perfect  himself,  he  travelled  to  Italy.  After 
a residence  of  several  years  in  Rome,  he  returned  to  Holland, 
where  his  pictures  Were  not  less  admired  than  they  had  been  in 
Italy.  The  works  of  Du  Jardyn  generally  exhibited  a warmth 
and  briltiahcy  of  atmosphere  resembling  that  of  Italy  more  thaii 
Holland ; his  pictures  are  always  highly  wrought,  and  this  beau- 
tiful specimen  gives  ample  proof  of  his  great  talents. 

DESCRIPTION. 

It  is  a small  richly  composed  landscape,  with  a hilly  meadow 
for  the  foreground,  on  which  are  seen  a bull,  horse  and  sheep, 
with  children  on  the  opposite  declivity,  and  a tree  on  the  right ; 
the  stump  and  roots  of  a tree,  behind  which  is  a dog,  fills  the 
Ifft  of  the  picture ; the  sky  is  clear  and  sparkling ; the  land- 
scape spirited  and  free,  and  the  figures  and  animals  are  painted 
with  the  truth  and  finish  of  Paul  Potter. 

This  little  gem  adorned  the  collection  of  M.  M.  Zachary, 
Esq. 


9.  A SPANISH  PEASANT  FAMILY. 

BARTOLOME'  ESTEV ANMURI LLO. 

Born  at  Pilas,  near  Seville,  A,  D.  1613 — dieJ  A,  D,  1685,  aged  72, 
This  admirable  artist  studied  under  his  uncle,  Don  Juan  d^l 
Castillo,  who  was  a painter  of  some  eminence  and  established  ah 
academy  at  Seville.  The  fame  of  Velasquez,  who  was  in  the 
height  of  his  reputation,  reached  Seville,  and  Murillo  conceived 
the  project  of  visiting  Madrid  for  the  purpose  of  introducing  him- 
self to  the  notice  of  that  distinguished  artist,  in  which  he  was  suc- 
cessful; for  it  is  said  that  Velasquez  not  only  admitted  him  into 


17 

his  academy,  but  treated  him  with  the  greatest  kindness  and  liB-* 
erality ; he  procured  hini  the  best  means  of  improvement,  inde- 
pendent of  his  own  instfuctioh,  and  obtained  for  him  access  to 
the  rich  treasures  of  art  deposited  in  the  royal  collections.  H!e 
directed  his  attention  particularly  to  the  works  of  Titian,  Ru^ 
bens,  and  Vandyck,  and,  after  a few  years’  study  under  such 
favourable  circumstancesv  with  the  advantage  of  the  counsels  of 
Velasquez,  Murillo  returned  to  Seville,  and  resumed  the  prac- 
tice of  his  art  with  alactrity  and  the  most  flattering  success. 

DESCRIPTION- 

This  magnificent  picture  represents  a Spanish Pea*sant  family  J 
an  old  woman  with  spectacles  on ; her  hands  on  the  head  of  a 
little  boy  who  is  lying  on  a form  before  her.  She  appears  to  be 
looking  up,  surprised  at  something  that  has  been  said  by  a young 
man  who  has  just  entered  the  room  on  the  right,  while  a young 
female  who  leans  on  his  shoulder  seeitis  to  express  her  displea- 
sure.—The  contrast  between  the  aged  Crinkled  female,  and  the 
jocose  healthy  young  man,  is  managed  with  peculiar  efiect ; in 
the  foreshortening  of  the  little  boy  the  artist  has  been  most  hap-‘ 
py,  and  not  less  so  in  the  casting  of  the  drapery  and  the  ma- 
nagement of  the  chiar-oscuro.  The  colouring  is  equal  to  aiiy 
master  that  ever  painted,  and  the  whole  possesses  a force  and 
excellence  which  only  requires  to  be  seen  to  be  appreciated. 

This  extraordinary  fine  work  of  art  lately  adorned  the  cob 
lection  of  Charles  B.  Plestow,  Esqv'  of  England. 


10.  A LANDSCAPE  WITH  FIGURES. 

mNIXERHOUT  HOBBRUf  A. 

Born  at  Haerlem  A.  I>.  1629— Died  A.  D.  1699,  aged  TO. 

This  eminent  Landscape  painter  is  said  to  have  had  Ruys*- 
dael  for  his  master,  but  certain  it  is  that  he  studied  principally, 
if  not  wholly  aftei^  nature.  His  grounds  are  always  agreeably 

3 


18 


broken,  and  he  was  fond  of  describing  slopes,  diversified  with 
shrubs,  plants,  or  trees,  which  conducted  the  eye  to  some  build- 
ing, river,  grove,  or  piece  of  water,  and  frequently  to  a delicate 
remote  distance ; every  object  perspectively  contributing  to  de- 
lude the  observation  to  that  point. 

DESCRIPTION. 

in  this  charming  picture,  on  the  right,  the  artist  has  introdu- 
ced his  favourite  Watermill,  the  water  from  which  empties  itself 
into  a pond  where  a man  is  seen  angling ; just  beyond  in  the 
centre  of  the  picture,  is  a winding  road  judiciously  broken, 
which  to  the  right  leads  through  a vista  across  some  fields,  and 
terminates  on  the  left  with  cottages  illumined  by  the  sun’s  rays ; 
in  the  foregi’ound  on  this  side  is  another  cottage,  and  labourers 
seen  passing ; in  front  of  this  cottage,  is  a beautiful  cluster  of 
trees.  The  touch  is  light,  free,  and  firm,  and  has  a very  striking 
effect  by  the  happy  distribution  of  light  and  shadow  for  which 
this  artist  is  so  remarkable  ; the  colouring  is  extremely  fine ; the 
airy  form  and  graceful  disposition  of  the  clouds  are  inimitable. 
This  picture  has  ever  ranked  a chef  d’oeuvre  of  the  master ; the 
works  of  this  artist  are  uncommonly  scarce  and  pre-eminently 
esteemed,  particularly,  when  found  of  the  rich  and  high  quality 
of  this  brilliant  specimen.  It  is  from  the  collection  of  the  late 
Richard  I.  D.  Ashworth,  Esq.  of  England. 


11.  A FLOWER  PIECE. 

R£CARD1« 

This  Italian  artist  is  a native  of  Rome,  and  is  now  living.  It 
is  evident  from  the  few  specimens  known  of  this  master,  that  he 
studied  the  works  of  Van  Huy  sen  and  Van  Os. 

DESCRIPTION. 

This  beautiful  picture  possesses  the  mellowness  and  beauty  of 


19 


colouring  of  those  great  painters.  The  touch  is  flowing  and 
free,  the  grouping  of  the  various  beautiful  flowers  is  admirably 
managed.  The  pictures  of  this  master  are  held  in  high  esteem 
and  are  purchased  with  avidity. 


12.  A MAGDALEN  READING. 

liODOVICO  CARACCI. 

Th  is  fine  little  cabinet  specimen,  representing  the  Magdaleu 
reading  in  a Landscape,  is  copied  by  that  admirable  artist  Lo- 
dovico  Caracci  from  the  well  known  picture  in  the  Dresden  Gal- 
lery by  the  illustrious  Corregio.  Ludovico  in  this  picture  has 
most  faithfully  delineated  the  just  principles  upon  which  the  great 
author  of  the  subject  executed  his  works.  There  are  a number 
of  fine  copies  from  this  picture  by  different  artists,  and  it  is  pre- 
sumed that  this  will  not  be  surpassed,  if  equalled  by  any  of  them. 

From  the  collection  of  Charles  B.  Plestow,  Esq.  England. 


13.  LANDSCAPE  AND  FIGURES. 

HOBBEMA.— (Co/iy.) 

This  picture,  though  a copy,  possesses  a great  deal  of  force 
and  beauty,  and  may  with  propriety  be  called  the  attested  me- 
moranda of  the  profound  skill  of  the  master  from  whose  worlc 
it  was  copied. 


14.  A STAG  HUNT. 

ABRAHAM  HONDIXJS. 

Born  at  Rotterdam,  A.  D.  1638,  died  A.  D.  1695,  aged  57- 
This  great  painter’s  favourite  subjects  were  huntings  andani-^ 
mals,  which  he  treated  in  a masterly  style ; he  also  painted  con- 


jlagratioos  and  towns  pn  fire,  but  his  chief  excellence  was  in  the 
representation  of  dp^s^  in  which  few  artists  have  surpassed  Inni* 

DESCRIPTION. 

This  capital  picture  represents  a Stag  hunt;  the  expression  of 
agony  in  the  face  of  the  Stag,  which  is  run  down  by  its  furious 
enemies,  is  wonderful.  The  freedom  of  touch,  the  excellence  of 
the  design,  and  the  beauty  of  the  colouring,  is  not  inferior  to 
Snyder  or  Rubens. 

This  Picture  was  formerly  in  the  collection  of  Thomas  Tur- 
ner, Esq.  of  England. 


IS.  THE  FINDING  OF  MOSES. 

HERMAN  SWANEVELT. 

Born  at  Woerden,  A.  D.  1620 — Died  A.  D.  1690,  aged  70. 

According  to  Huber,  this  eminent  Landscape  painter  studied 
under  Gerard  Douw , whose  style  he  for  some  time  followed. — 
When  he  left  his  master  he  went  to  Italy,  where  he  painted 
Landscapes.  On  his  arrival  at  Rome  he  was  indefatigable  in 
iiis  studies ; he  w as  frequently  seen  in  the  most  sequestered 
plains,  (Jesigning  the  most  interesting  views,  and  the  most  re- 
markable vestiges  of  antiquity  in  the  vicinity  of  that  capital. 
These  studious  and  solitary  promenades  procured  him  the  ap- 
pellation of  the  Hermit  of  Italj".  In  1640  he  became  the  disci- 
ple of  Claude  Lorraine. 

DESCRIPTION. 

This  little  picture  represents  the  finding  of  Moses ; the  fig- 
ures are  admirably  drawn  and  highly  finished,  and  the  Land- 
scape is  painted  with  the  brilliant  and  glowing  effect  of  Claude. 

^his  little  gem  was  fortncrl}^  in  the  collection  of  Robert  Hin- 
ley.  Esq.  of  England. 


21 


16.  A LANDSCAPE  AND  FIGURES. 

DAVID  TEMIERS,  ths  tottngeb, 

Bora  at  Antwerp,  A.  D.  1610,  died  A.  D.  1694,  aged  84. 

This  celebrated  painter  was  the  son  of  an  artist,  under  whom 
he  studied,  afterwards  under  Adrian  Brouwer,  and  had  the  ad- 
vantage of  receiving  lessons  from  Rubens  in  the  principles  of 
colouring.  Teniers  was  a constant  and  faithful  follower  of 
Nature  ; his  favourite  subjects  were  village  festivals  and  merry- 
makings, Flemish  fairs  and  incantations : he  displayed  a charac- 
teristic originality  and  a naivete  of  expression,  in  which  he  is 
unrivalled. 

DESCRIPTION. 

This  little  gem  is  known  by  the  name  of  the  Wood-cutters  : 
in  the  fore-ground  are  three  men  employed  about  a tree  which 
they  have  Just  felled;  another  figure  is  standing  by  who  is  speak- 
ing to  those  at  work,  and  points  to  a road  on  the  left.  A village 
is  seen  in  the  distance.  The  pencilling  is  light  and  dexterous, 
the  trees  are  touched  with  spirit  and  taste,  the  sky  is  light  and 
floating,  and  there  is  that  silvery  charm  in  the  colouring  which 
is  so  peculiar  to  the  master.  This  beautiful  little  cabinet  speci- 
men was  formerly  in  the  collection  of  John  Webb,  Esq.,  and 
subsequently  in  that  of  Thomas  Emmerson,  Esq.  of  England. 


17.  AN  INTERIOR. 

DA.VID  TENIERS,  the  younger. 

Born  at  Antwerp,  A,  D.  1610— died  A,  D.  1694,  aged  84, 

This  fine  Cabinet  picture  represents  the  interior  of  an 
apartment,  where,  at  a table,  is  seated  a Doctor,  who  is  exami-^ 
ning  the  contents  of  a bottle,  of  which  an  aged  female,  who 
stands  near  him,  appears  anxiously  waiting  to  hear  his  opinion  ; 
on  the  right  are  three  other  figures  busily  engaged  in  conversa- 
tion. This  picture  is  touched  with  great  ^irit  and  is  in  an 


22 


.agreeable  and  clear  tone  of  colour ; the  drawing  is  correct,  and 
the  expression  of  the  countenances  is  admirable.  From  the 
collection  of  Thomas  Emmerson,  Esq.  of  England. 


18.  THE  MAGDALEN  IN  THE  WILDERNESS. 

TlTlA/r, 

Born  at  the  castle  of  Cadore,  at  Friuli,  1477 — died  1576,  aged  99. 

This  distinguished  painter  was  the  founder  of  the  true  princi- 
ples of  colouring.  Having  shown  an  inclination  for  the  art,  he 
was  sent  by  his  father  at  the  early  age  of  ten  years  to  Venice, 
and  placed  under  the  protection  of  his  uncle.  He  is  said  by 
Lanzi  to  have  received  his  first  instruction  in  the  art  from  Se- 
bastiano  Zuccati,  and  was  afterwards  successively  the  disciple 
of  Gentile  and  Giovanni  Bellini.  As  soon  as  he  saw  the  works 
of  Giorgione,  he  quitted  the  tame  style  which  characterized  the 
works  of  his  first  instructors,  and  adopted  a bolder  outline, 
greater  freedom  of  hand  and  a broader  effect  of  light  and  sha- 
dow. In  1496,  when  he  w^as  only  eighteen  years  of  age,  he  was 
employed  in  conjunction  with  Giorgione  in  an  important  work, 
and  his  portion  of  the  undertaking  having  been  preferred  to  that 
of  his  competitor,  served  to  establish  more  firmly  his  growing  re- 
putation. In  1550  Titian  was  invited  by  Charles  the  5th  to 
Bologna,  where  he  painted  a portrait  of  the  Emperor;  from 
thence  he  w as  invited  to  the  Court  of  the  Duke  of  Mantua, 
whose  portrait  he  painted,  and  his  twelve  Caesars  for  the  grand 
saloon  of  the  palace.  In  1548  he  went  to  Rome,  where  he  w as 
lodged  in  the  Belvidere,  and  painted  for  the  second  time,  the 
portrait  of  Pope  Paul  the  5th  sitting  between  the  Cardinals 
Farnese  and  Prince  Ottavio.  Here  he  likewise  painted  his 
picture  of  Danae : it  was  at  this  time  that  Michael  Angelo  Buo- 
norati  paid  him  a visit,  and  expressed  his  admiration  of  the  beau- 
ty of  the  colouring,  but  lamented  that  Titian  had  not  studied 
the  antique  as  accurately  as  he  had  nature,  in  which  case 


23 


his  works  would  have  been  inimitable,  by  uniting  the  perfec- 
tion of  colouring  with  correctness  of  design.  He  next  visited 
Madrid  in  1550,  where  he  remained  about  three  years,  during 
which  time  he  painted  several  fine  pictures  and  had  the  honour  of 
being  knighted.  The  Emperor  Charles  the  5th,  it  is  said,  dis- 
tinguished him  also  by  his  personal  friendship  and  frequently 
visited  him  when  at  work ; on  one  occasion  the  pencil  fell  out  of 
his  hand  and  Charles  took  it  up,  saying  as  he  presented  It  to  the 
astonished  artist,  “ It  becomes  Caesar  to  serve  Titian.”  Philip  2nd, 
no  less  showed  his  esteem  for  Titian  than  his  father — ^he  paint- 
ed several  pictures  for  him,  one  of  the  finest  of  which  was  the 
sleeping  Venus.  Velasco  says  that  when  the  palace  of  Pardo 
was  burnt,  the  King  impatiently  asked  if  the  Titian  Venus  had 
escaped,  and  being  informed  that  it  was  safe,  he  replied,  “ then 
every  other  loss  may  be  supported.”  His  female  figures  and 
children,  says  Bryan,  are  preferable  to  those  of  his  men,  and 
he  has  given  them  an  air  of  naivete  and  ease,  which,  though 
not  absolutely  grace,  is  nearly  allied  to  it ; and  it  is  generally 
supposed  that  both  N.  Poussin  and  the  Sculptor  Fiammingo,  who 
excelled  in  design  of  infantile  beauty,  formed  their  idea  of  it,  by 
Contemplating  the  works  of  Titian.  As  a colourist  he  stands 
unrivalled — no  painter  has  viewed  nature  with  so  chaste  an  eye — 
his  tones  are  so  subtilely  melted  as  to  leave  no  intimation  of  the 
colours  which  were  on  his  palette ; it  is  in  this  respect  that  his 
system  of  colouring  differs  so  materially  from  that  of  Reubens 
who  was  accustomed  to  place  his  colours,  one  near  the  other,  with 
a slight  blending  of  the  tints : he  observed  that  in  nature  every 
object  differed  in  the  strength  of  its  tints,  and  the  depth  of  its 
shadows  ; hence,  as  Mengs  remarks,  in  imitating  nature,  he  took 
the  prevalent  for  the  whole,  and  represented  his  fleshy  tones, 
chiefly  composed  of  demi-tints,  totally  by  demy-tints,*  and  di- 
vested of  demi-tints  those  passages  in  which  few  were  discerna- 
ble  in  nature  ; by  these  means  he  arrived  at  an  indiscribable 
degree  of  perfection  of  colouring  which  approaches  to  illusion. 


24 


DESCRIPTION. 

This  picture  represents^the  Magdalen  in  the  wihferness  in  the 
attitude  of  supplication.  The  expressidni  of  her  countfenf^ce  is 
a wonderful  effort ; resignation,  penitence,  and  deVotion>  are 
most  exqinsitely  portrayed.  The  right  hand  is  fervently  press-* 
ing,  on  her  breast ; with  her  left  she  Supports  a-  piece'  of  drapery, 
which  encircles  the  left  arm  and  passes  thVbttgh  the  hand,  at  the 
same  time  compressing  her  beautiful  hair'  Which*  flows  ittbsf 
gracefully  and  envelopes  her  person.  The  dratwirtg  of  the  whole' 
figure,  particularly  the  arms  and  hands  are  adnairable';  the  piece 
of  drapery  around  the  arm,  and  the  small  am  in  fhe^  foregroJund 
on  the  right  are  inimitably  painted ; the  dark  ba*Ck  gfound'whicH 
is  so  appropriate  tO'  the  figure,  added  to'  the  skilful  treatment  of 
the  chiar-oscuro,  and  Extraordinary  beautiful  colouring,  gives* 
a harmony  to  the  whole  which  is  impossible  to  describe. 

This  splendid  picture  is  from  the  collection  of  the  late  Richard 
I.  D.  Ashwortii,,  Esq.  of  England. 


19  ST.  JOHN  THE  EVANGELIST. 

JOSEF  RIBERA  CALLED  IL.  SPRAGHVOLETTO. 

Born  at  Xatavia,  in  Valencia,  A.D.  1589,  died  1656,  aged  67. 

This  eminent  painter  was  placed  as  a student*  with  Francisco 
Ribalta  under  wliom  he  remained  a few  years,  but  before  he  was' 
sixteen  years  of  age  he  visited  Italy  in  search  of  improvement. 
In  l &06'he  saw  the  works' of  Michael  Angelo  Caravag^o,  who 
had  at  that  time  taken  refuge  in  Naples  to  avoid  the  consequen- 
ces of  a hoimcide  he  had  committed  in  Rome;  The  powerful 
andi  effective*  style  of  that  painter,  had  particular  attraction  for 
Ribera,  who  paid'his  court  to  Caravaggio  with  so  much  address,, 
that  he  favored  him  with  his  instructions  during  his  residence  at 
Naples.  The  progress  of  the  young  Spaniard  was  remarkable, 
and  his  early  productions  were  so  much  admired  that  he  acquir- 
ed the  appellation,  of  II  Spagnoletto.  His  genius  led  him  to 


26 


paint  gloomy  and  anstcresubjectSy  which  were  peculiarfy  aece|»* 
table  to  the  Neapolitans  and  Spauiardsy  such  as  Hermits  and 
Saints,  emaciated  by  abstinence  and  severity  ; he  also  selected 
for  the  subjects  of  his  pictures,  images  of  savage  greatness,^  and 
terrific  sublimity These  subjects  he  treated  with  fidelity  and 
with  a correctness  of  design,  w hich  might  serve  as  a study  for  the 
anatomist* 

DESCRIPTION. 

This  extraordinary  fine  picture  represents  St.  John  in  the 
island  of  Patmos,  where  he  wrote  liis  book  of  Revelations.  The 
subject  is  taken  from  the  1st  chapter  of  the  Revelations  of 
John.  I,  John,  was  in  the  Isle  of  Patmos  for  the  word  of  Gcjd  v 
and  the  testimony  of  Jesus  Christ.  I was  in  the  Spirit  on  the 
LiOrd’s  day,  and  beard  behind  me  a great  voice,  as  of  a trum- 
pet, saying  I am  Alpha  and  Omega,  the  first  and  the  last ; and 
what  thou  seest,  write  in  a book,  and  send  it  unto  the  sevee 
churches  which  are  in  Asia. 

And  I turned  to  see  the  voice  that  spake  with  meJ^ 

The  forcible  and  sublime  expression  exliibited  in  the  counte- 
nance of  St.  John,  who  is  represented  as  turning  towards  the 
skies  from  whence  the  voice  proceeds  is  indeseribable  ; wMcIi^ 
added  to  the  correct  anatomy,  the  skilful  management  of  the 
chiar-oscuro,  and  the  powerful,  yet  chaste  colouring,  must  im- 
press one  who  views  the  picture  with  amazement  and  awe^ 
This  splendid  work  of  art  is  lent  from  the  collection  of  D.  W. 
Coit,  Esq.  and  was  purchased  during  his  residence  at  Lima  m 
Pern. 


20.  SHEEP  IN  A LANDSCAPE. 

ADRIAN  VAN  DE  VELDE. 

Korn  at  Amsterdam,  A.D.  1659,  died  16T2,  aged  33. 

This  beautiful  little  cabinet  gem  represents  two  sheep  lying 
down  in  a landscape  under  a tree,  on  the  opj^site  side  ofwHdi 
the  herdsman  is  seen  reclining,  apparently  asleep : this  is  a most 
highly  finished  specimen  of  this  great  and  much  esteemed  mMWr, 

4 


aiid  po^sei^ses  all  that  beauty  of  colouring  and  excjuisite  touch 
for  which  he  is  so  l*emarkable. 


21.  SHEEP  IN  A LANDSCAPE. 

ADRIAN  VAN  DE  VELDE. 

The  companion  picture  to  the  preceding,  equally  fine. 
These  two  little  gems  were  formerly  in  the  collection  of 
Joseph  Barchard,  Esq.  and  purchased  at  that  gentleman^s  sale^ 
at  Mr.  Christie’s  Rooms,  6th  of  May,  1826,  by  Thos.  Emmer- 
son  Esq.  of  whom  Mr.  Abraham  subsequently  purchased  them. 


22.  LANDSCAPE  AND  CATTLE. 

PHILIP  JAMES  DE  LOUTHERBOURG. 

Born  at  Strasburg,  A.  D.  1734,  Died  A.  D.  1812,  aged  T8. 

This  charming  painter  was  instructed  in  the  first  elements 
oftheartby  Francis  Casanova,  a painter  of  battles  : subse- 
quently he  studied  the  inimitable  works  of  Nicholas  Berghem. 
The  productions  ofLoutherbourgwere  universally  admired,  and 
in  1763  he  became  a member  of  the  Academy  at  Paris,  but 
shortly  after  he  quitted  France  for  London,  where  he  passed  the 
remainder  of  his  life. 

DESCRIPTION. 

In  this  fine  specimen  which  represents  Early  Morning,  a 
herdsman  accompanied  by  a female  riding,  is  seen  driving  cattle, 
sheep,  and  goats  through  a beautiful,  and  richly  cultivated  land- 
scape. In  the  management  of  this  little  picture,  Loutherbourg 
has  portrayed  all  the  excellence  in  the  art  of  landscape  painting. 
The  natural  effect  of  the  sun,  the  delicate  gradation  of  the  aerial 
perspective,  the  beauty  and  mellowness  of  the  sky,  the  free  and 
exquisite  touch,  and  the  natural  and  delightful  tone  of  colouring 
is  not  inferior  to  Both,  or  Berghem. 


2? 


23  LANDSCAPE  AND  FIGURES. 

PHILIP  JAHES  DE  LOUTHEEBOURG. 
Companion  picture  to  the  preceding. — Equally  fine. 

These  two  beautiful  little  cabinet  pictures  were  purchased  by 
Thomas  Turner,  Esq.  at  the  sale  of  Lord  Berwick’s  collection 
at  Phillip’s  Rooms,  A.  D.  1824,  from  whom  Mr.  Abraham  pur* 
chased  them  in  1826. 


24.  FRUIT  PIECE. 

OTTMAi^r  ELLIGER, 

Born  at  Gottenburg,  A,  D.  lG33--dieil  A.  D,  1705,  aged  72, 

This  extraordinary  clever  painter  at  an  early  period  of  his 
life  went  to  Antwerp,  where  he  became  a scholar  of  Daniel  Se- 
gers,  he  painted  flowers  and  fruit  in  the  highly  finished  style  of 
his  master.  His  pictures  are  very  scarce,  being  principally  con- 
fined to  the  best  collections  in  Germany. 

DESCRIPTION. 

This  Picture  represents  Fruit,  Corn,  and  Flowers,  painted  in 
the  form  of  a Garland,  with  an  innumerable  variety  of  insects : 
this  is  a most  exquisitely  painted  picture,  the  representation  of 
the  various  objects  are  truly  natural : on  the  left  of  the  picture 
is  seen  a cunning  mouse  feasting  himself  on  the  delicious  fruit ; 
the  exquisite  pencilling,  the  richness  and  splendour  of  the  co- 
louring, and  the  skilful  management  of  the  chiar-oscuro  are 
equal  to  the  productions  of  Rubens  or  Snyder,  while  the  finish 
is  not  surpassed  by  Van  Huysen. 

The  name  of  the  artist  with  the  date  1664  is  on  the  right . 
hand  corner  at  the  bottom  of  the  picture. 


25,  A DUTCH  BCHOOL, 

REMER  BRAKENBURG. 

Bom  at  •HaerleiH,  A«  D.  1649,  diet!  A.  D.  — , aged— 

Tlik  clewr  master  studied  under  Mommers,  a landscape 
fiiamter,  but  he  afterwards  became  a disciple  of  Bernard  Schen- 
del  whose  style  was  more  suited  to  his  genius.  He  painted  si- 
milar to  those  of  his  master,  representing  merry-makings,  and 
drunken  assemblies,  which  are  ingeniously  composed,  and  well 
coloured.  He  had  the  felicity,  like  Teniers,  of  imitating  dif- 
ferent masters ; and  like  that  great  artist,  he  took  great  care  in 
all  such  subjects  to  retain  his  own  handling,  but  so  disguised, 
as  to  give  all  the  effect  and  manner  of  tlie  master,  whose  style 
he  was  portraying,  which  this  little  picture  amply  proves, 

DESCRIPTION, 

It  represents  the  Interior  of  a School:  the  expressions  of  the 
various  countenances  are  admirable,  particularly  that  of  the 
master,  who  is  threatening  a little  girl  who  appears  to  have  been 
brought,  reluctantly,  by  her  mother  to  school.  It  is  painted 
with  all  tlie  truth  and  finish  of  Jan  Steen,  wbose  style  Braken- 
burg  intended  it  sliould  represent. 


2G.  INTERIOR  OF  AN  APARTMENT, 

RENIER  BRAKENBUHC. 

^lie  companion  picture  to  the  preceding.  It  represents  the 
Interior  of  an  apartment  with  figures  smoking  and  drinking, 
%vhile  a female  is  grating  sugar  to  mix  with  a cordial ; in  the 
front  of  the  table  near  her  is  a child,  and  in  tlie  foreground  on 
the  left  is  a dog.  The  picture  is  painted  with  infinite  skill, 
and  in  the  style  of  that  inimitable  master  Petei’  De  Hooge. 

This  pair  of  pictures  ai'e  from  the  collection  of  Charles  Har- 
iington.  Esq.  of  England. 


i9 


27,  AN  ITALIAN  PICTURE, 

BARTOLLOMMEO  SHIDONI. 

Bom  at  Modena,  A.  D,  1560 — died  16 16,  aged  56. 

This  captivating  painter  studied  in  the  Caracci  school,  and, 
subsequently,  the  works  of  Raffaelle,  Corregio  and  Parmigiano^, 
particularly  those  of  Corregio,  His  management  of  the  chiar- 
oscuro, exhibits  the  breath  and  intelligence  of  that  admirable 
painter,  and  his  colouring  partakes  of  tire  purity  which  distin- 
guished those  great  men  whose  works  he  so  successfully  studied, 
The  pictures  of  this  master  are  very  scarce,  held  in  high  esti- 
mation, and  are  very  valuable. 

DESCRIPTION, 

This  splendid  picture  is  a group,  composed  of  the  Virgin 
Mary,  the  infant  Saviour,  St,  John,  and  an  Angel  who  is  pre- 
senting the  Saviour  a Bird,  The  expression  of  dread  in  the 
countenance  of  the  holy  child,  who  clings  to  the  drapery  which 
passes  over  the  head  and  shoulders  of  tlie  Virgin  is  truly  natu- 
ral, and  is  beautifully  contrasted  with  that  of  St.  John,  who  is 
seen  patting  and  playing  witli  the  bird.  The  parental  affection  ex- 
pressed in  the  face  of  the  virgin  Mother  is  inimitable,  while  she  is 
encouraging  her  infant  to  become  familiar  with  the  object  of 
his  fear.  In  the  foreground,  near  the  feet  of  the  Angel,  the  ar- 
tist has  judiciously  introduced  a Book,  upon  which  is  placed  a 
white  Vase,  that  gives  a depth  and  force  to  the  whole  composi- 
tion, Tlie  beauty  of  the  colouring,  and  the  grandeur  of  the  de- 
sign, will  vie  with  the  productions  of  Parmigiano. 

This  picture  adorned  the  collection  of  Charles  Wade,  Esq, 
of  Enland, 


HEAD  OF  A MADONNA, 

SASSOFERRATO. 

Born  near  Urbino,  A.  D.  1605— -died  A.  D.  1585,  aged  80« 

This  artist  studied  the  works  of  Guido,  Albano,  Baroccio  and 
Raffaelle.  His  subjects  generally  represent  the  Virgin  and  in- 
fant Christ,  and  he  seldom  has  more  than  two  figures  in  his 
pictures. 

DESCRIPTION. 

This  beautiful  head  of  the  Madonna  possesses  great  sweet* 
ness  of  expression.  The  drapery  is  cast  in  a masterly  style,  and 
the  colouring  is  vei^  pleasing  and  not  unlike  to  Guido. 


29.  A MERRY-MAKING. 

ISAAC  VAN  OSTADE. 

Born  at  Lubeck,  A.  D.  1617r-*died  A.  D.  1650,  aged  33* ' 

This  clever  painter  was  brother  to  Adrian  Van  Ostade,  un- 
der whom  he  studied.  Although  he  did  not  equal  his  instruc- 
tor, yet  he  was  an  artist  of  no  ordinary  talents,  and  his  pictures 
are  highl}^  esteemed.  He  painted  similar  subjects  to  those  of  his 
brother  Adrian,  and  touched  them  in  a very  masterly  manner, 
particularly  his  exteriors. 

DESCRIPTION. 

This  little  picture  is  an  excellent  example  of  his  abilities.  It 
represents  peasants  dancing  in  front  of  a village  public  house. 
In  painting  this  picture,  the  artist  has  given  the  most  lively  and 
natural  expression  to  the  various  characters.  The  colouring  is 
rich,  clear  and  glowing,  and  the  landscape  is  touched  with 
great  spirit,  and  at  the  same  time  with  a light  and  delicate  pencil.. 

From  the  collection  of  J.  Taylor,  Esq.  of  England. 


31 


30.  A PASTORAL  SCENE. 

ANTHONY  WATTEAU. 

Boil'd  at  Valenciennes,  A.  D.  1684— Died  A.  D.  1721,  aged  5T, 

This  eminent  painter  studied  under  Claude  Gillot,  an  artist 
who  had  acquired  some  celebrity  as  a painter  of  grotesques  and 
Subjects  froAi  the  fable;  but  Watteau  soon  surpassed  his  in- 
structs', and  then  studied  the  splendid  works  of  Rubens,  from 
which  he  acquired  an  admirable  system  of  colouring,  in  which 
he  may  be  said  to  have  excelled  every  painter  of  his  country. 
He  painted  balls,  masquerades,  gallant  and  pastoral  subjects,  in 
a style  which  has  given  rise  to  a host  of  imitators,  without  pro- 
ducing a rival.  Lord  Orford  observes,  that  he  painted  imagi- 
nary nymphs  and  swains,  and  described  a kind  of  impossible  pa- 
storal, a rural  life,  led  by  those  opposites  of  rural  simplicity, 
people  of  rank  and  fashion.  Watteau’s  shepherdesses,  nay,  his 
very  sheep  are  coquettes ; yet  he  avoided  the  glare  and  clin- 
quant of  his  countrymen;  and  though  he  fell  short  of  the  digni- 
fied grace  of  the  Italians,  there  is  an  easy  air  in  his  figures,  and 
that  more  familiar  species  of  the  graceful  which  we  call  gen- 
teel.” 

DESCRIPTIOi^. 

This  beautiful  little  cabinet  specimen,  maybe  regarded  as  the 
chef  d’oeuvre  of  this  inimitable  painter.  It  represents  a pasto- 
ral scene,  such  as  Lord  Orford  so  admirably  describes.  The 
figures  are  designed  with  finesse,  and  have  the  suppleness  of 
nature.  The  colouring  is  fresh  and  splendid,  and  the  tenderness 
of  the  carnations  are  equally  admirable ; and  it  may  be  said,  that 
in  this  picture  the  national  taste  of  the  French  prevails. 

This  little  gem  is  from  the  collection  of  the  late  Richard  I. 
Ashw  orth,  Esq.  of  England. 


32 


31.  LANDSCAPES  AND  FIGURES. 

J.  VAN  STRY. 

This  admirable  artist,  who  is  a native  of  Haeriem,  and  Is  row 
living,  has  studied  the  works  of  the  celebrated  A.  Cupy. 

DESCRIPTION. 

A small  upright  landscape,  in  which  an  equestrian  fi^re  is 
seen  riding  through  a gate,  held  open  by  a child,  whose  mother 
is  close  by  with  an  infant  in  her  arms,  while  the  father  is  soli- 
citing alms  from  a gentleman  passing  through.  On  the  left  are 
some  sheep  grazing,  and  on  the  right  is  a cottage.  The  whole 
is  touched  with  a great  freedom  and  spirit,  and  the  colouring  is 
clear  and  mellow. 

From  the  collection  of  I.  Johnson,  Esq.  of  England. 


32.  VIEW  OF  DIEPPE  HARBOUR. 

JOHN  WILSON. 

This  artist  is  a native  of  London,  and  is  a painter  of  marine 
views. 


DESCRIPTION. 

This  little  picture  represents  a view  of  Dieppe  Harbour  at  low 
water,  it  is  painted  with  a free  and  flowing  pencil,  and  in  a 
pleasing  and  clear  tone  of  colour. 


33.  LANDSCAPE,  BUILDINGS  AND  FIGURES. 

ZAMPIERRI,  CALLED  DOMENICHINO. 

Born  at  Bologna,  A.  T>.  15U1,  died  A.  1>.  1641,  aged  C©. 

This  admirable  master  painted  History  and  Landscapes,  and 
was  excelled  by  no  artist  of  his  time.  This  beautiful  and  clas- 


33 


sical  little  picture  is  an  undoubted  specimen  of  this  master,  and 
Is  painted  with  great  skill. 


34.  A FULL  LENGTH  PORTRAIT. 

SIR  THOMAS  LAWRENCE. 

This  admirable  portrait  painter  was  a native  of  England,  and 
was  chosen  President  of  the  Royal  Academy  in  London,  imme- 
diately after  the  death  of  Mr.  West,  which  place  of  distinction 
he  filled  until  his  death,  which  lately  happened.  In  his  particu*^ 
lar  branch  of  the  art  he  was  surpassed  by  no  artist  of  his  time. 

DESCRIPTION. 

A full  length  and  faithful  portrait  of  the  illustrious  Benjamin 
West,  who  was  so  justly  ranked  the  first  historical  painter  of  the 
age.  Sir  Thomas  in  painting  this  portrait  has  no  less  shown 
his  talent  in  portrait  painting,  than  did  Mr.  West  in  the  higher 
walk  of  the  art. 

This  splendid  picture  has  been  permitted  by  the  Directors  of 
the  American  Academy  of  Fine  Arts  to  remain  in  the  room  to 
enrich  this  exhibition. 


35.  OUR  SAVIOUR  IN  THE  GARDEN  OF 
GETHSEMANE. 

ADRIAN  VAN  DE  VELDE. 

Born  at  Amsterdam,  in  1039 — Died  1672,  aged  33, 

This  admirable  artist  was  placed  under  John  Wynants,  the 
landscape  painter,  who  was  one  of  the  ablest  of  his  time  ; 
under  whom  he  made  so  extraordinary  a progress  that  it  surpri- 
sed his  instructor.  Wynants  educated  his  phpil  in  the  system 
he  had  himself  pursued,  of  studying  every  thing  from  nature. 
Van  de  Velde  passed  the  greater  part  of  the  day  in  the  fields,  de- 


34 


signing  evei^  thing  that  was  essential  to  his  pursuits ; and  he 
was  soon  convinced  that  in  the  particular  branch  of  the  art  to 
which  be  devoted  himself,  the  conceptions  of  the  happiest  and 
most  inventive  genius,  fall  short  of  the  abundance,  the  variety, 
and  the  truth  which  the  study  of  nature  afibrds.  He  did  not 
however  confine  himself  to  Landscape  and  Animals ; he  drew 
from  the  model,  and  became  a correct  designer  of  the  human 
figure. 

Although  Adrian  Van  de  Velde  was  brought  up  in  the  school 
of  a landscape  painter,  and  had  not  the  advantage  of  a regular 
education  in  the  higher  walk  of  historic  painting,  yet  such  was 
the  extent  of  his  genius  and  the  variety  of  his  powers,  that  he 
acquired  considerable  reputation  by  an  altar  piece  he  painted  for 
the  Roman  Catholick  Church  at  Amsterdam,  representing  the 
taking  down  from  the  Cross ; he  has  also  painted  several  histo- 
rical subjects  taken  from  the  life  of  Christj  of  which  this  grand 
picture  is  one. 

DESCRIPTION. 

The  subject  is  Our  Saviour  praying  in  the  garden  of  Gethse- 
mane.  The  artist  has  chosen  the  time  when  the  angel  appears 
to  comfort  and  strengthen  him  during  his  sorrows ; “ yet  they 
overwhelmed  him  and  threw  him  into  an  agony,  upon  which  he 
still  continued  to  pray  more  earnestly,”  in  these  words,  O my 
F ather,  if  this  cup  may  not  pass  away  from  me  except  I drink 
it,  thy  will  be  done.”  On  the  left  of  the  picture,  the  three  dis- 
ciples whom  their  master  left  to  watch,  are  seen  sleeping ; in 
the  distance,  the  soldiers  are  entering  the  garden  to  arrest  our 
Saviour,  headed  by  the  treacherous  Judas.  The  group  is  illu- 
mined partially  by  the  light  of  the  moon,  and  partly  by  the 
lighted  torches  which  are  borne  by  some  of  their  party,  produ- 
cing a different  and  extraordinary  effect ; from  the  figure  of  the 
angel  who  is  supporting  the  Redeemer,  emanates  a splendour 
which  reflects  on  Christ,  that  rivals  the  light  of  the  sun.  The 
colour  is  in  harmony  with  the  subject ; the  expression  in  the 


35 


countenance  of  the  Saviour,  is  such  as  could  only  result  from 
the  most  pathetic  imagination ; it  exhibits  all  the  divinity  which 
sacred  history  designates  in  the  person  of  the  Redeemer ; no 
sorrow  was  ever  more  deeply  delineated — the  eyes  are  suffused 
with  tears,  yet  the  divine  beauty  of  the  visage  is  not  disturbed, 
nor  its  majesty  impaired — meekness  and  resignation  are  truly 
characterized,  but  it  is  a meekness  that  does  not  detract  from 
dignity  ; and  a resignation  that  has  no  connexion  with  despair ; 
a look  of  celestial  complacency  and  benevolence  which  seems 
to  triumph  over  pain  and  sorrow,  illumines  the  whole  visage, 
and  affects  the  beholder  with  the  most  irresistible  emotions* 
From  the  collection  of  Thomas  Emmerson,  Esq.  of  England* 


36.  TIGERS  IN  A CAVE. 

TOWNE. 

This  clever  artist  is  a native  of  England  and  is  now  living. 
His  pictures,  which  generally  represent  animals  are  highly  es- 
teemed,  and  produce  liberal  prices. 

DESCRIPTION. 

This  Picture  is  a fair  example  of  his  talents ; it  represents 
three  Tigers  in  a cave : the  light  which  is  cleverly  diffused 
through  the  picture  is  introduced  from  the  top ; the  colouring 
is  remarkably  good  and  the  touch  free  and  spirited. 


37.  LANDSCAPE.  CATTLE  AND  FIGURES. 

LE  BRUN. 

This  pleasing  artist  is  a native  of  France,  and  is  believed  to 
be  now  living.  The  subjects  of  his  pictures  are  Landscapes 
and  Cattle ; he  is  called  the  French  Paul  Potter,  from  his  ha- 
ving studied  the  works  and  painted  many  of  his  pictures  after 
the  style  of  that  great  master. 


36 


DESCRIPTIOiN. 

This  is  a very  pleasing  little  landscape ; in  the  fore-ground, 
on  the  bank  of  a river  is  a group  of  three  figures ; just  beyond 
on  the  right,  is  a cottage  and  two  cows  sheltered  by  a tree,  a 
little  to  the  left  is  another  cow,  and  a female  carrying  a pail  of 
w^ater  which  she  has  just  taken  from  the  river ; on  the  extreme 
left  is  an  old  tower  built  of  bricks,  painted  with  all  the  minute- 
ness of  Vander  Hey  den;  every  brick  might  be  counted,  the  ef- 
fect of  the  sun  dispersing  the  dark  clouds  after  a shower  of  rain, 
is  admirably  managed ; the  picture  throughout  is  highly  finished 
and  in  a clear  tone  of  colour. 


38.  LANDSCAPE  AND  CATTLE. 

WILLIAM  VAN  ROMEYiV. 

This  clever  artist  was  doubtless  a native  of  Holland^  and  is 
sLipposed  to  have  studied  under  Karel  du  Jardyn,  but  it  is  not 
positively  known  w ho  w as  his  master : his  pictures  are  frequent- 
ly met  w ith  in  good  collections,  and  partake  of  the  style  of  the 
great  cattle  and  landscape  painter^  Du  Jardyn. 

DESCRIPTION. 

This  is  a rich  landscape  with  a hilly  meadow  for  the  fore- 
gi’ound,  on  which  is  a group  of  sheep  and  cattle,  with  a second 
group  of  sheep  and  goats  on  the  opposite  declivity ; on  the  left 
of  the  picture  is  a woman,  a boy,  and  an  ass  laden  descending  a 
hill;  the  herbs  in  the  foreground  are  painted  with  delicacy  and 
truth,  and  the  general  tone  and  effect  of  the  landscape  is  remark- 
ably good.  This  picture  was  highly  prized  by  its  late  posses- 
sor, J.  Johnson,  Esq.  of  England. 


39.  A PORTRAl'J'. 

WILLIAM  DOBSON, 

Born  in  London,  tdlO,  died  in  1646,  aged  S6. 

This  painter,  whom  king  Charles  I.  styled  the  English  Tuu 
toretto,  studied  under  Robert  Peake  a portrait  painter ; from 
this  master’s  instruction  he  was  not  likely  to  profit  much ; but  he 
procured  him  the  means  of  stud34ng  some  of  Titian  and  Van- 
dyck’s  spendid  works,  by  which  he  acquired  an  excellent  princi- 
ple of  colouring  and  great  freedom  of  hand.  On  leaving  his 
master,  Dobson  appears  to  have  lived  in  indigence  and  obscurity, 
until  Vandyck  passing  a shop  on  Snowhill,  London,  perceived  a 
picture  exposed  to  sale  in  the  window,  which  had  sufficient  merit 
to  excite  his  curiosity  to  discover  the  painter,  whom  he  found  at 
work  in  a miserable  garret:  the  well  known  liberality  of  Van- 
dyck soon  relieved  him  from  his  wretched  situation ; he  after- 
wards introduced  him  to  the  king,  and  zealously  recommended 
him  to  his  majesty’s  protection.  On  the  death  of  this  great 
artist,  Dobson  was  appointed  sergeant  painter  to  the  king,  whom 
he  accompanied  to  Oxford,  where  he  painted  his  portrait,  that  of 
Prince  Rupert,  and  several  of  the  nobility. 

DESCRIPTION. 

This  splendid  portrait  of  Charles  L is  painted  in  the  best 
time  of  the  master,  and  is  considered  to  be  a most  faithful  like-^ 
ness  of  that  most  amiable  prince ; he  has  been  most  happy  in  the 
correct  expression  of  the  eye,  and  not  less  so  in  giving  that 
melancholy  cast  of  countenance  which  is  said  to  have  character- 
ized this  unfortunate  monarch.  For  trtith  and  purity  of  colour- 
ing, for  the  delicacy  and  fineness  of  the  touch,  this  picture  will 
vie  with  the  works  of  Vandyck. 


40.  A HEAD. 

SPAGNOLETTO. 

Born  at  Xativa  in  Valencia,  in  1589,  died  in  1656,  aged  6T. 

The  head  of  St.  Peter.  This  is  one  of  the&iest  productions 
9f  this  great  master ; in  drawing,  it  possesses  the  grandeur  of 
Michael  Angelo,  in  colouring,  the  warmth  and  beauty  of  Titian, 
and  in  touch,  the  force  and  effect  of  Guido.  This  picture  is 
from  the  collection  of  Thomas  Emmerson,  Esq.  of  England. 


41.  THE  VIRGIN  AND  CHILD. 

ANTHONY  STJSLBA. 

Born  at  Lyons  in  1630,  died  in  1682,  aged  52. 

t 

This  artist  was  instructed  by  his  uncle,  and  became  a reputa- 
ble painter  and  a member  of  the  Royal  Academy  at  Paris. 

DESCRIPTION. 

Tliis  little  picture  is  a beautilul  specimen  of  the  master,  the 
subject  of  which  is  the  Virgin  and  Child ; there  is  a sweet  ex- 
pression in  the  face  of  the  Virgin,  and  is  painted  with  a delicate 
pencil ; the  casting  of  the  drapery  is  cleverly  managed,  and  the 
colouring  is  remarkably  good.  From  the  collection  of  John  Bv 
Bastede,  Esq.  of  England. 


42.  DEAD  BIRDS. 

WILLIAM  VAN  AELST. 

Born  at  Delft  in  1620,  died  16r9,  aged  59. 

This  ingenious  painter  was  a nephew  of  Evert  Van  Aelst,  by 
whom  he  was  instructed  in  the  art.  His  pictures,  like  those  of 
his  uncle,  represent  dead  game  and  still  life.  They  are,  how- 
ever, much  more  neatly  finished,  and  are  even  more  preciously 
wrought  up  than  the  highly  valued  works  of  Weeninx. 


39 


DESCRIPTION- 

This  little  picture  is  a fine  specimen  of  the  master.  A group 
of  dead  birds  placed  on  a marble  slab.  It  is  painted  with  a flow- 
ing and  clear  pencil  ; and  the  colouring  is  not  inferior  to  Wee- 
ninx.  The  name  of  the  artist  is  in  the  left  corner  of  the  picture, 
ahd  bears  the  date  of  1665. 


43-  DEAD  BIRDS. 

WILLIAM  VAN  AELST. 

The  companion  to  the  preceding  picture^ — equally  fine. 

This  pair  of  pictures  are  from  the  collection  of  R.  Artis,  Esq- 
of  England. 


44.  BOORS  FIGHTING. 

ADRIAN  BROUWER. 

Born  at  Haerlem,  in  1608,  die*!  1640,  aged  32. 

This  extraordinary  artist  was  a pupil  of  Francis  Hals,  an  emin- 
ent painter  at  Haerlem,  at  the  same  time  that  Adrian  Van  Os- 
tade was  studying  under  that  master,  who  advised  Brouwer  to 
escape  from  the  tyranny  and  injustice  which  he  had  to  bear  with 
from  his  instructor,  which  he  soon  effected,  and  took  refuge  at 
Amsterdam.  Bryan  relates  the  following  anecdote,  in  which 
this  fine  specimen  of  Brouwer  is  mentioned:  ‘‘  In  a few  days  af- 
ter Brouwer  had  arrived  at  Amsterdam,  having  escaped  from 
the  tyranny  of  his  instructor,  Francis  Hals,  he  painted  a picture 
of  boors  fighting,  which  he  gave  to  the  master  of  the  inn  where 
he  lodged,  requesting  him  to  endeavour  to  dispose  of  it  for  him. 
The  host  returned  in  a short  time,  and  presented  the  painter 
with  a hundred  ducats,  which  he  had  received  for  the  picture. 
The  astonishment  of  Brouw  er  was  extreme ; with  difliculty  he 
could  persuade  himself  that  it  was  not  a dream.  Instead  of 


40 


producing  in  him  the  efl'ect  that  might  have  been  expected,  of 
stimulating  him  to  an  industrious  exertion  of  those  abilities, 
which  promised  him  both  fortune  and  reputation,  it  unfortunate- 
ly furnished  him  with  the  means  of  indulging  his  natural  pro- 
pensity for  prodigality  and  intemperance ; he  took  leave  of  his 
host,  who  saw  no  more  of  him  for  ten  days ; and  on  being  as- 
ked, on  his  return,  concerning  his  money,  he  cheerfully  replied, 

thank  heaven,  I am  disencumbered  of  it,  and  I,  feel  myself 
more  at  liberty.” 

DESCRIPTION. 

This  little  picture  represents  the  inside  of  a shed,  in  front  of 
u house,  where  a group  of  three  figures  are  fighting  over  a 
barrel : just  behind,  another  figure  is  seen  driving  his  compa- 
nion out  of  the  door.  On  the  right,  a man  is  advancing  to- 
wards the  group  with  a pitcher,  which  as  it  might  be  supposed, 
he  had  gone  to  replenish  with  ale.  At  the  door  of  the  house,  i^ 
an  old  woman,  who  is  calmly  looking  on^  indicating  the  frequent 
occurrence  of  such  scenes.  The  accessories  are  most  judiciously 
placed,  which  much  contributes  to  the  perfection  of  the  whole. 
There  is  all  the  exquisite  truth,  life  and  character,  in  this  speci- 
men, for  which  this  artist  was  so  remarkable,  and  so  justly  ad- 
mired. The  colouring  is  clear  and  brilliant;  and  the  manage- 
ment of  the  chiar-oscuro  is  equal  to  Ostade. 

This  little  picture  is  from  the  collection  of  Richard  Artis, 
Esq.  of  England,  and  has  been  handed  down  as  the  identical 
picture  alluded  to  in  the  anecdote  above  quoted. 


45.  SMUGGLERS. 

DE  KONINGH. 

Porn  in  Amsterdam,  in , died  1828,  aged 

This  admirable  painter  studied  the  works  of  Cuyp  and  Rem- 
brandt, and  his  pictures  partake  of  that  beauty  of  colouring  and 
force  of  effect  of  those  great  masters.  This  little  picture  is 


41 


known  by  the  name  of  The  Smugglers.  It  represents  a boat  of 
figures  rowing  into  a cove  towards  which  one  of  the  men  is 
pointing,  for  the  purpose  of  landing  their  contraband  merchan- 
dize ; on  the  opposite  bank  of  the  river  are  some  cows  grazing, 
beyond  which  in  the  extreme  left  is  a Windmill : the  richness  of 
colouring  and  the  intelligence  of  light  and  shadow  which  ispro^- 
duced  in  this  picture,  is  little  inferior  to  Rembrandt ; while  the 
broad  facile  and  crisp  touch  resembles  that  ofCuyp.  It  may  be 
considered  one  of  the  best  specimens  of  this  much  esteemed  art- 
ist. From  the  collection  of  I.  Taylor,  Esq.  of  England. 


46.  THE  HOLY  FAMILY. 

PELLEGRINO  TIBALDI. 

Bom  at  Bologna,  1527,  died  1600,  aged  7S. 

According  to  Zanotti,  this  eminent  artist  was  a disciple  of 
Bartolomeo  Ramenghi,  and  distinguished  himself  as  an  archi- 
tect as  well  as  a painter : his  principal  studies  at  Bologna  were 
from  the  works  of  Giorgio  Vassari.  In  1547  he  went  to  Rome, 
where  the  works  of  Michael  Angelo  and  Rafiaelle  were  the  par- 
ticular objects  of  his  attention.  His  compositions  partake  of  the 
grandeur  of  Michael  Angelo,  and  the  sweetness  and  grace  of 
Raffaelle,  which  will  be  observed  in  this  fine  specimen  of  the 
master 

DESCRIPTION. 

T^his  picture  represents  the  Virgin  Mary  with  the  infant  Sa*» 
viour  on  her  knee,  to  whom  St.  John  is  presenting  a basket  of 
fruit.  St.  Joseph  stands  behind,  looking  over  the  right  shoul- 
der of  the  Virgin,  with  affectionate  admiration  towards  St.  John. 
The  composition  is  sublime,  the  figures  are  models  of  correct- 
ness, and  designed  in  a free  and  masterly  style,  with  great  attenr 
tion  to  truth  and  nature  : the  colouring  is  chaste  and  rich,  and 
the  chiar-oscuro  is  treated  with  the  greatest  skill. 

6 


42 


47.  A SNOW  SCENE. 

PHILIP  WOUVERMANS. 

Born  at  Haerlem,  in  1620,  died  in  1668,  aged  48. 

This  charming  painter  received  his  first  instructions  from  his 
father  a painter  of  little  celebrity,  and  afterwards  studied  under 
John  Wynants  ; his  progress  in  the  art  was  so  rapid  that  it  be- 
came a matter  of  surprise  to  every  person  who  knew  him.  From 
his  indigent  circumstances  he  was  prevented  leaving  his  native 
place,  notwithstanding  his  works  possessed  every  excellence 
that  could  he  ^\ishe4^br. 

DESCRIPTION. 

This  little  specimen  of  landscape  will  afford  a great  proof  o 
his  talents : the  truly  natural  effect  of  a snow  scene  is  admirably 
managed.  In  the  centre  of  the  picture  is  a figure  driving  an 
Antelope  attached  to  a sledge : on  the  right  a second  figure  is 
seen  coming  out  of  the  wood  driving  with  great  speed  another 
ofthese  beautiful  animals.  The  touch,  though  fine,  is  exquisite, 
and  possesses  all  that  high  finish  for  which  he  is  so  celebrated.. 
The  figures  are  drawn  with  the  correctness  of  nature,  and  the 
sky  is  in  perfect  keeping  with  the  rest  of  the  picture.  It  former- 
ly adorned  the  collection  of  Richard  Artis,  Esq.  of  England. 


48.  AN  ITALIAN  LANDSCAPE. 

-S,  CLAUDE  DE  LORRAINE. 

Bom  aPLorraine  in  1600,  died,  in  1682,  aged  82. 

It  is  recorded  of  Claude  that,  from  an  early  period  of  his  ca- 
reer, his  talents  were  so  universally  appreciated,  that  he  w^as  un- 
able by  the  most  unremitting  application  to  his  art,  during  the 
course  of  long  protracted  life,  to  satisfy  the  desire  to  possess  his 
productions.  Of  this,  more  thananyother  painter  that  ever  lived, 
it  might  be  said,  that  he  dipped  his  pencil  in  the  rainbow,  and 


4S 


triknsferred  its  magic  hues,  in  all  their  endless  variety  of  cowlbi- 
nation,  to  his  canvas.  He  gave  to  water  its  depth,  its  coolness, 
Its  lustre,  and  its  transparency;  he  represented  t^lve  due  grada- 
tions of  vapour  in  his  distances;  he  distinguished  by  character- 
istic touches  the  different  hours  of  the  day,  and  was  the  first,  and 
perhaps  the  last,  who  may  be  said  to  have  painted  air;  to  this 
perfection  in  c^douring,  he  joined  more  perfect  knowledge  of 
linear  perspective,  than  was  perhaps  ever  possessed  by  any  other 
artist.  The  different  plains  of  his  landscapes  come  forward  or 
recede  with  a truth  of  effect  bordering  on  illusion ; every  object 
keeps  its  just  place,  every  thing  appears  reality. 

A late  Italian  writer  observes,  that  a large  Landscape  of 
Poussin  or  Salvator,  is  seen  in  half  the  time  that  is  required  to 
examine  the  beauties  of  even  a small  picture  by  Claude.  “ The 
latter,”  he  adds,  ‘‘  amuses  the  spectator  in  a hundred  different 
ways ; it  leads  his  eye  through  so  many  chatinkels,  whether  by 
land  or  water,  and  calls  his  attention  to  so  rnatiy  .objects  woxtby 
of  remark,  that  he  feels,  as  it  were,  obliged,  as  w hen  actwall^' 
travelling,  to  stop  occasionally  to  take  breath ; it  opens  to  his 
view,  so  great  an  extent  of  distant  country,  that  he  alitlQSt  anti- 
cipates the  fatigue  of  a long  journey.”  Lanzi. — It  may  be  ad- 
ded that  the  near  objects  of  his  pictures  are  not  less  worthy  pf 
praise ; the  leafage  of  his  trees  possesses  all  the  lightness  and 
variety  of  nature,  and  the  herbs  jn  his  foregrounds  xu:e  finished 
with  delicacy  and  truth. 

description;.  ' 

This  picture  which  is  one  of  the  most  choice  productions  of 
this  justly  esteemed  master,  represents  Early  Morning ; the  sun 
just  dispersing  the  dew ; in  the  foreground,  on  the  bank  of  a ri- 
ver is  a goatherd  tuning  his  reed  to  a herd  of  goats,  on  the  op- 
posite side  is  seen  a herdsman  driving  cattle  down  a declivity, 
on  the  right  of  which,  in  the  middle  distance,  is  a view  of  Ti- 
voli. 

The  easy  and  picturesque  manner  in  which  the  river  winds 


> 


44 

through  a highly  cultivated  country,  is  truly  poetical.  The  in- 
troduction of  a rustic  bridge  which  crosses  the  river,  has  a most 
happy  effect,  beyond  which  in  the  extreme  distance  is  a view  of 
the  sea ; several  small  vessels  are  interspersed,  which  complete 
the  perspective,  and  carries  the  eye  over,  an  immense  space. 
This  picture  was  painted  for  Palermo  in  1647,  and  will  be  found 
in  the  Liber  Veritatis,  No.  172.  It  lately  adorned  the  collection 
of  Charles  B.  Plestow,  of  England. 


49.  THE  ADORATION. 

RAFFAELLE  SANZIO  DE  URBINO. 

Born  at  Urbino  in  1483,  died  in  1520,  aged  3T, 

« 

This  illustrious  artist,  has,  by  the  general  approbation  of  man- 
kind, been  styled  the  prince  of  painters,  and  is  universally  ac- 
knowledged to  have  possessed  a greater  combination  of  the 
higher  excellencies  of  the  art  than  has  fallen  to  the  lot  of  any 
other  individual. 

According  to  Bryan  it  appears  he  was  the  son  of  Giovanni 
Sanzio,  a painter  of  little  celebrity.  After  being  instructed  in 
the  first  elements  of  the  art,  by  his  father,  he  was  sent  to  Peru- 
gia, where  he  became  a disciple  of  Pietro  Vanucci,  called  Pe- 
rugino,  whose  works  were  at  that  time  held  in  high  estimation. 
Mengs  considered  it  fortunate  for  the  fame  of  Raffaelle  that  he 
was  born  at  an  era  which  he  ingeniously  denominates  ‘‘  the  in- 
nocence of  the  art,  and  before  it  had  been  debauched  by  affecta- 
tion and  manner.”  The  powers  of  this  sublime  artist,  did  not,, 
like  those  of  Michael  Angelo  Buonnaroti,  blaze  forth  at  once  to 
the  astonishment  of  the  world ; his  progress  from  his  commence- 
ment under  Perugino,  to  the  pinnacle  of  greatness,  to  which  he 
subsequently  soared,  would  doubtless  be  interesting ; and  it  is 
to  be  regretted  that  the  limits  of  this  catalogue  will  not  all  allow 
of  entering  into  detail ; but  the  reader  is  respectfully  referred 
to  Pilkington,  in  whose  work  he  will  find  an  elaborate  account 
of  this  great  artist. 


45 


DESCRIPTION. 

This  sublime  little  cabinet  gem,  represents  the  Adoration  to 
our  Saviour,  of  the  Virgin  Mary,  St.  Joseph,  and  St.  John,  at- 
tended by  two  angels,  who  complete  this  admirable  group,  in  a 
landscape.  In  the  foreground,  is  the  young  Redeemer  resting 
on  a pillow ; a portion  of  the  drapery  which  adorns  the  Virgin, 
who  is  kneeling  in  the  centre  of  the  picture,  forms  his  bed ; on 
the  left  is  St.  Joseph,  on  the  right  just  above  the  Saviour  is  the 
young  St.  John,  beyond  whom  are  two  heavenly  messengers. 

The  expression  of  the  Virgin  mother  of  our  Saviour,  is  full 
of  sweetness,  and  grace ; while  St.  John  on  bended  knee,  and 
with  uplifted  hands,  seems  to  lisp  his  infant  praises  to  him  who 
was  to  be  the  Joy  of  all  nations.”  The  expression  of  St.  Jo- 
seph as  well  as  that  of  the  angels,  is  no  less  admirable.  The 
unaffected  gracefulness,  which  reigns  throughout  this  little  pic- 
ture, and  especially  the  exquisite  beauty  of  the  thought  and  ex- 
pression, combine  to  Justify  its  being  ranked  among  the  happiest 
effusions  of  its  author,  in  his  Perugino,  or  first  manner. 

This  valuable  work  graced  the  collection  of  Thomas  Emmer- 
merson,  Esq.  of  England,  where  it  was  much  admired.  The 
late  Sir  Thomas  Lawrence  pronounced  it  to  be  one  of  Raf- 
faelle’s  finest  productions  in  his  Perugino  «tyle. 


50.  THE  BAPTISM  OF  OUR  SAVIOUR. 

LODOVICO  CARACCI. 

Born  at  Bologna  in  1555 — died  in  1619,  aged  64. 

This  great  painter  studied  in  the  school  of  Prospero  Fontana. 
Having  derived  all  the  improvement  he  could  from  the  works  of 
art  in  his  native  place,  he  visited  Venice,  where  he  studied  the 
works  of  Titian  and  Tintoretto — at  Florence,  Andrea  Del 
Sarto,  and  at  Parma,  made  his  principal  studies  from  the  sublime 

productions  of  Corregio:  he  afterwards  returned  to  Bologna. 

\ 


46 


At  this  period  the  art  had  fallen  into  some  degree  of  decadence, 
and  it  was  by  the  powers  and  energy  of  Lodovico,  assisted  by 
his  relatives  Agostino  and  Annibale,  that  it  was  rescued  from 
a state  of  languor  and  debility,  which  threatened  its  entire  annihi- 
lation, and  placed  on  that  proud  and  transcendant  elevation 
to  which  they  raised  it.  This  reform  was  not,  however,  ef- 
fected without  much  opposition.  It  is  said  that  all  the  Pain- 
ters of  Bologna  formed  a league  against  the  new  style  of  the 
Caracci : at  length,  however,  the  extraordinary  merit  of  their 
productions  triumphed  over  cabal,  and  they  succeeded  in  esta- 
blishing that  celebrated  Academy,  in  which  the  talents  of  Do- 
menichino,  Guido,  Albano,  and  other  able  disciples  were  elicitecU 

DESCRIPTION. 

Ludovico,  has,  in  this  picture,  which  represents  the  Bap- 
tism of  our  Saviour,  by  St.  John,  in  the  river  Jordan,  fully 
realized  the  opinions  given  of  his  great  talents  by  many  of 
the  best  judges  in  the  art,  ‘‘  as  that  which  approaches  near- 
est to  perfection.”  “ His  breadth  of  light  and  shadow,”  says 
Sir  Joshua  Reynolds,  ‘‘  the  simplicity  of  his  colouring,  and  the 
solemn  effect  of  that  tvilight  that  seems  diffused  over  his  pic- 
tures,is  better  suited  to  the  grave  and  dignified  subjects  he  gener- 
ally treated,  than  more  artificial  brilliancy  of  sunshine,  which 
enlightens  the  picturtes  of  Titian.”  This  sublime  work  of  art 
cannot  fail  to  delight : the  expression  of  the  angel  holding  the 
mantle  towards  Christ,  equalling  that  of  Corregio,  the  meekness 
and  grace  of  the  Saviour,  the  dignity  of  St.  John,  and  the 
grouping  of  the  angels  above,  is  perfect. 

This  splendid  picture  was  formerly  in  the  collection  of  the 
late  Richard  I.  D.  Ashworth,  Esq.  of  England. 


51.  A FINISHED  SKETCH. 

GIOVANNI  BATISTA  TIEPOLO. 

Born  at  Venice  in  1697 — died  1770,  aged  73. 

This  great  artist  is  recorded  to  have  been  one  of  the  la*st 


41 


eminent  painters  of  the  Venetian  school.  He  was  a scholar  of 
Gregorio  Laizarni,  whose  carefully  studied  style  was  an  useful 
check  to  the  natural  impetuosity  of  his  genius ; he  also  painted 
in  the  manner  of  Batista  Piazetta,  though  in  a clearer  and  more 
lively  tone  of  colouring.  He  afterwards  studied  with  success 
the  works  of  Paolo  Veronese ; he  approached  that  distinguished 
painter  in  the  airs  and  turn  of  his  figures,  in  the  splendor  of  his 
colouring,  and  in  the  breadth  of  his  light  and  shadow.  He  was 
subsequently  invited  to  Spain,  where  he  painted  several  splendid 
frescoes  for  the  palace  of  Madrid,  which  were  so  gradually  ex- 
ecuted and  so  much  admired,  that  they  excited  the  jealousy  of 
Mengs,  the  popular  court  painter,  who  was  then  in  the  height 
of  his  celebrity.  Of  these  pictures  an  elaborate  description  will 
be  found  in  Mr.  Cumberland’s  Catalogue  of  the  collection  in 
the  palaces  of  the  king  of  Spain. 

DESCRIPTION. 

This  beautiful  cabinet  specimen  represents  the  presentation  of 
banners,  after  a conquest,  to  one  of  the  Roman  Emperors,  who 
is  seated  on  his  throne  under  a triumphal  arch,  the  grouping  of 
the  figures  on  each  side  of  which,  is  admirable ; the  foreshorten- 
ing of  the  two  musicians  in  the  foreground  is  inimitable ; the 
drawing  is  perfect,  the  casting  of  the  draperies,  the  grandeur 
of  the  colouring,  the  distribution  of  the  lights  and  shadows,  and 
the  bold,  free,  and  spirited  pencilling  is  not  inferior  to  P.  Ve- 
ronese. 

This  beautiful  picture  adorned  the  collection  of  J.  Taylor, 
Esq.  of  England. 


S2.  HEAD  OF  AN  ANGEL. 

RAFFAELLE. 

Dorn  at  Urbino,  in  1483,  died  in  1520,  aged  37. 

This  little  gem  is  painted  iii  the  master’s  second  style,  after 
he  left  the  school  of  Perugino,  and  possesses  all  that  celestial 


beauty,  modesty,  and  grace,  which  characterises  the  works  ot 
this  illustrious  artist:  it  cannot  fail  to  captivate  the  eye  on  the 
first  glance* 

This  beautiful  little  picture  was  highly  prized  by  the  late  Ri- 
chard I.  D.  Ashworth,  Esq.  of  England,  whose  collec:ion  it 
adorned  for  several  years. 


53.  AN  INTERIOR  BY  CANDLELIGHT. 

GODFREY  SCHALCKEN. 

Born  at  Dort  in  1643,  died  in  1?^06,  aged  63» 

This  painter  studied  under  Solomon  Van  Hoogstraten,  and 
afterwards  became  a scholar  of  Gerard  Douw,  under  whom  he 
acquired  great  delicacy  of  finishing,  and  a competent  acquain- 
tance with  the  principles  of  light  and  shadow ; he  remained 
un  der  the  tuition  of  that  master  until  he  had  established  a repu- 
tation by  painting  small  pictures  of  domestic  scenes,  chiefly  re- 
presented by  candlelight,  subjects  which  his  instructor  has  trea- 
ted with  such  distinguished  success.  On  leaving  the  school  of 
Douw  he  attempted  for  some  time  to  aggrandize  his  style  by 
studying  the  works  of  Rembrandt ; but  despairing  to  equal 
the  vigorous  touch  and  magical  effect  of  that  extraordinary  ar- 
tist, he  pursued  his  first  principles,  and  his  pictures  were  sought 
after  with  avidity. 

DESCRIPTION. 

This  little  picture  represents  the  interior  of  an  apartment, with 
three  figures  at  a table.  The  female  is  asleep  in  her  chair,  while 
one  of  her  male  companions  is  playing  off  a joke,  by  placing  his 
segar  to  her  nose ; the  other  has  just  risen  from  his  seat  for  the 
purpose  of  lighting  his  pipe  by  the  candle  on  the  table ; a fourth 
figure  is  seen  coming  in  at  the  door  with  a light  in  her  hand, while 
on  the  floor  in  the  foreground  is  a third  light  which  proceeds 
from  a lantern.  The  management  of  the  chiar-oscuro  in  this 
picture  satisfactorily  proves  the  perfect  knowledge  the  artist  had 
of  its  use  and  effect.  The  touch  is  sweet  and  mellow ; the  col- 


49 


curing  clear  and  good ; and  the  accessories  are  placed  with 
care  and  precision. 

There  is  a picture  now  in  the  possession  of  A.  Hope,  Esq.  of 
England,  of  the  same  subject,  by  G.  Douw ; and  this  picture 
has  been  considered,  by  many  excellent  judges,  to  be  by  that 
great  artist,  but  that  is  not  deemed  to  be  the  fact,  although  little 
inferior  to  that  Master. 

It  was  formerly  in  the  collection  of  David  Holt,  Esq.  of  Eng- 
land. 


54.  SEA  PIECE.  A CALM. 

WILLIAM  VAN  DE  VELDE,  THE  YOUNGER. 

Born  at  Amsterdam,  1633.  died  1707,  aged  74. 

This  inimitable  marine  painter,  was  the  son  of  an  artist  who 
also  painted  marine  views ; from  whom  he  received  his  first  in- 
structions, afterwards  he  studied  under  Simon  de  Vlieger,  like- 
wise an  eminent  painter  of  sea  pieces,  whose  works  were  held  in 
high  estimation.  Young  Van  de  Velde’s  progress  under  that 
master  was  extraordinary  ; he  not  only  surpassed  his  instructor, 
and  all  his  contemporaries,  but  he  arrived  at  a perfection  in  the 
particular  branch  of  the  art  to  which  he  devoted  himself,  which 
is  universally  allowed  to  be  unrivalled.  The  palm,”  says  Or^ 
ford,  is  not  less  disputed  with  Raffaelle,  for  history,  than  with 
Van  de  Velde  for  sea  pieces.”  The  compositions  of  young  Van 
de  Velde  are  distinguished  by  a more  tasteful  arrangement  of 
his  objects  than  is  found  in  the  productioiis  of  any  other  painter 
of  marines. 

DESCRIPTION. 

This  cabinet  picture  may  be  considered  one  of  his  most  choice 
specimens : the  vessels  are  most  correctly  designed,  the  cordage 
and  rigging  are  finished  with  delicacy,  and  at  the  same  time  with 
an  unexampled  freedom : the  figures  are  drawn  with  correct- 
ness, and  touched  with  a spirit  which  is  inimitable.  The  sky  is 
brilliant  and  sunny,  and  in  the  glassy  smoothness  of  the  water, 
every  object  is  reflected  with  a luminous  transparency. 

7 


5b 


This  choice  work  of  art  adorned  the  collection  of  the  late 
Richard  I.  D.  Ashworth,  Esq.  of  England. 


55.  AN  ITALIAN  LANDSCAPE. 

RICHARD  WILSON. 

Born  in  England  1714 — died  1782,  aged  68. 

This  distinguished  landscape  painter,  was  the  son  of  a cler- 
gyman. He  was  sent  to  London  at  an  early  age,  and  placed 
under  the  tuition  of  Thomas  Wright,  an  obscure  painter  of  por- 
traits. To  this  branch  of  the  art,  Wilson  devoted  himself  for 
several  years.  After  practising  some  time  in  London,  he  went 
to  Italy,  where  he  continued  to  paint  portraits.  He  was  quite 
unacquainted  with  the  genuine  bias  of  his  genius ; and  proba- 
bly would  have  remained  long  ignorant  of  the  peculiar  bent  of 
his  talents,  but  for  the  friendly  advice  of  Zuccherelli  and  Vernet, 
the  celebrated  painters.  Wilson  painted  a landscape,  in  the 
moments  of  relaxation  from  his  ordinary  pursuits,  which  was 
accidentally  seen  by  Zuccherelli.  This  artist  was  so  struck 
with  the  performance,  that  he  strongly  recommended  Wilson  to 
follow  that  branch  of  the  art  in  future.  About  the  same  time, 
another  occurrence  took  place,  which  confirmed  him  in  the  de- 
termination to  follow  that  pursuit.  Vernet  being  in  Rome  at 
this  time,  where  his  works  were  held  in  the  highest  estimation, 
and  happening  to  visit  Wilson’s  painting  room,  was  so  struck 
with  the  landscape  he  had  painted,  that  he  requested  to  become 
the  possesssor.  The  proposal  was  readily  accepted.  Ver- 
net placed  it  in  the  exhibition  room,  and  recommended  the  pain- 
ter to  the  attention  of  the  Cognoscenti.  Wilson  from  that  time 
pursued  his  studies  in  landscape  painting ; and  his  works  were 
so  much  admired,  that  Mengs  painted  his  portrait  and  presented 
it  to  him,  and  Wilson,  in  return,  presented  this  great  artist  a 
landscape.  He  returned  to  London  in  1758,  and  his  celebra- 
ted picture  of  Niobe  was  in  the  first  exliibition  of  the  society  of 


51 


artists  in  1760 ; and  at  the  institution  of  the  Royal  Academy  in 
London,  Wilson  was  chosen  one  of  the  founders.  He  has  been 
called  the  English  Claude.  Fuseli  says,  “ that  Wilson’s  taste 
was  so  exquisite,  and  his  eye  so  chaste,  that  whatever  came  from 
his  easel,  bore  the  stamp  of  elegance  and  truth.”  It  is  not  sur- 
prising, that  this  acknowledged  judge  of  the  arts,  and  profound 
critic,  should  have  passed  so  high  an  encomium  upon  Wilson, 
for  his  pictures  need  only  be  seen  to  be  appreciated. 

DESCRIPTION. 

This  beautiful  cabinet  specimen  is  a richly  composed  Italian 
Landscape ; in  the  foreground  are  two  figures  seated  near  a 
tree,  sheltering  under  an  umbrella  from  the  heat  of  the  sun ; a 
man  is  seen  riding  his  horse  towards  a river  which  occupies  the 
middle  distance,  from  which  rises  a rude  cliff,  on  the  top  of 
which  are  two  figures  prostrating  themselves  before  a cross ; in 
the  extreme  left,  on  the  highest  pinnacle,  is  a temple,  beneath 
w hich  is  seen  a rustic  bridge  and  a waterfall. 

The  colouring  is  chaste  and  natural,  the  touch  is  free  and 
spirited,  the  lights  and  shadows  are  broad  and  distributed  with 
consummate  skill,  the  middle  tints  are  most  inimitably  managed, 
the  sky  is  beautifully  clear,  and  the  whole  produces  a pleasing 
and  harmonious  effect. 

This  Splendid  picture  w^as  in  the  collection  of  George  Tunni- 
cliff,  Esq.  of  England. 


56.  LANDSCAPE  AND  CATTLE. 

PAUL  POTTER. 

Born  at  Enkhuysen,  A,  D.  1625, — Died  A,  D.  1654,  aged — 29. 

This  admirable  painter  of  Animals  was  instructed  in  the  art 
by  his  father,  whom  he  soon  surpassed.  His  pictures  during 
his  life  time  were  so  much  sought  after,  that  with  more  than 
* ommon  assiduity,  he  could  with  difficulty  keep  pace  with  the 


52 


demand  for  his  works.  The  landscapes  of  Potter  are  usually 
subordinate  to  his  cattle,  and  seldom  extend  beyond  a pasture 
with  a stump  of  a tree,  a farm  house  or  a hovel,  but  they  are  re- 
presented with  uncommon  fidelity.  It  is  evident  from  his  works, 
that  he  designed  every  object  from  nature,  and  Bryan  states 
“ that  it  was  his  constant  practice  in  his  walks  in  the  fields,  the 
only  recreation  he  allowed  himself  from  constant  application, 
to  sketch  in  a book  every  object  that  attracted  his  attention.” 

DESCRIPTIOxN. 

This  cabinet  specimen  may  be  justly  termed  a transcript  of 
nature,  embellished  by  the  beauties  of  art.  The  scene  is  laid 
near  a grange  which  is  seen  in  the  left  of  the  picture ; in  the 
fore-ground  is  a sheep  lying  down  near  a brook,  on  the  oppo- 
site side  are  two  goats,  one  of  which  is  drinking  from  the  brook ; 
in  the  centre  of  the  picture  is  a group  of  cows,  delineated  and 
coloured  with  the  characteristics  of  truth  which  evinces  the 
superior  excellence  of  the  master,  as  a painter  of  cattle.  A 
milk-maid  attending  to  her  rural  occupation  is  in  character  with 
the  subject ; it  is  painted  in  a full  and  flowing  pencil,  at  the 
same  time  highly  wrought ; the  touch  is  firm  and  free,  and  the 
sky  is  in  a clear  and  warm  tone,  producing  the  tranquil  effect 
which  is  observable  of  a Summer’s  evening. 

This  admirable  work  of  art  is  from  the  collection  of  Thomas 
Emmerson,  Esq.  of  England. 


57.  THE  MARRIAGE  OF  ST.  CATHERINE. 

INNOCENZIO  FRANCUCCl  DA  IMOLA. 

Born  at  Imola,  A.  D.  1494. — Died  A.  D.  1550,  aged 32. 

This  artist  was  a pupil  of  Francesco  Francia  of  Bologna, 
afterwards  studied  under  Marietta  Albertinelli  at  Florence ; he 
also  studied  the  works  of  Raffaelle.  He  was  much  esteemed  du- 
ring his  life  time,  and  his  works  are  now  very  scarce. 


53 


DESCRIPTION. 

This  picture  represents  the  marriage  of  St.  Catherine ; the 
Virgin,  St.  Joseph,  and  Infant  Christ,  in  a landscape.  This  is 
one  of  the  finest  productions  of  this  scarce  master,  and  one  of 
the  only  two  ever  known  to  have  been  in  England. 

From  the  collection  ofM.  M.  Zachary,  Esq.  of  England. 


58.  A SERIES  OF  CASTS,  (proof  impressions,)  from  the 
Napoleon  Medals — by  Andrieu.  Elegantly  fitted  up.  F rom 
the  collection  of  Thomas  Turner,  Esq.  of  England. 


59.  A TURKISH  SWORD — inlaid  with  gold. 


60.  A TWO-EDGED  SWORD — mounted  with  silver. 


61.  HOUBRAKEN’S  COLLECTION  OF  HEADS  of  Il- 
lustrious Persons  of  Great  Britain — -fine  impressions. 


FINIS. 


